토바치아나 - 휴미더, 파이프, 라이터, 재떨이 등

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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Webster American MCM Sterling individual Ashtrays/salts. Selling the set shown with no issues or significant wear. 2.5" long each. They are whatever you want them to be of course, great design. 52.3 grams total tw120

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Vintage French Apollinaris Liquor Advertising Match holder. No damage. kitshelf

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Schafer and Vater Googleye Unexpected Opening Match Holder Faint mark from a<br>large collection of Schafer and Vater, 4" tall with no cracks, chips, or<br>restorations.<br>b37

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Mid Century San Antonio texas Advertising ashtray. No damage 3.5" wide. blkcrateredbag

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Mid century Murano Controlled bubbles silver foil bowl. Great piece from the third quarter of the 20th century with no damage. 7" x 3" tall in deep amethyst color. Nice freeform piece with large slots for a cigar ashtray if desired. tw129

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Large 1950's Murano Biomorphic Ashtray/Centerpiece. 10 5/8" x 8.5" x 4" deep. Guranteed Murano from the 50's-70's. No cracks, chips, or dings. Appropriate natural wear on base. Nice abstract design was likely once a large cigar ashtray but doesn't have to be anymore. tw183

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Lalique Tokyo Art Deco Style French Art Glass Ashtray. No cracks, chips, or restorations.5 3/8" wide x 2 1/8" deep. TW190

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c1960 Su Casa Chicago Restaurant Ashtray Tlaquepaque Mexican Folk pottery . 7 3/8" wide rare and unusual. No cracks or chips but some glaze surface wear as expected and shown. tw130

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c1950 Moorcroft Ashtray. No cracks, chips, or restorations. Some expected crazing, 6" wide diagonally. History of Moorcroft Pottery Compared to many other Stoke Pottery brands, Moorcroft started quite late, created by William Moorcroft in 1897. Now, however, it’s a worldwide brand and has been growing in quality and prestige ever since its inception. In 1928, Moorcroft was appointed ‘Potters to H.M. The Queen’, cementing the quality and demand of the brand. After William died in 1945, his son Walter Moorcroft took over the responsibilities his father had held and became the sole Moorcroft designer. Walter introduced many of the exotic flowers that are seen and loved in the designs today. Walter retired from this role in 1986, and Moorcroft have since seen a steady increase in designers and have even developed the Design Studio, a place which now hosts five world-class ceramic designers. From its early conception, Moorcroft pottery was in high demand from prestigious department stores such as Harrods, Liberty of London, and even Tiffany & Co. This demand cemented the pottery brand as one of artistic quality and a solid investment, which we can still see to be true to this day. isshelf

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c1950 Moorcroft Ashtray. No cracks, chips, or restorations. Some expected<br>crazing, 6" wide diagonally.<br><br>History of Moorcroft Pottery<br>Compared to many other Stoke Pottery brands, Moorcroft started quite late,<br>created by William Moorcroft in 1897. Now, however, it’s a worldwide brand and<br>has been growing in quality and prestige ever since its inception.<br><br>In 1928, Moorcroft was appointed ‘Potters to H.M. The Queen’, cementing the<br>quality and demand of the brand.<br><br>After William died in 1945, his son Walter Moorcroft took over the<br>responsibilities his father had held and became the sole Moorcroft designer.<br>Walter introduced many of the exotic flowers that are seen and loved in the<br>designs today. Walter retired from this role in 1986, and Moorcroft have since<br>seen a steady increase in designers and have even developed the Design Studio, a<br>place which now hosts five world-class ceramic designers.<br><br>From its early conception, Moorcroft pottery was in high demand from prestigious<br>department stores such as Harrods, Liberty of London, and even Tiffany & Co.<br>This demand cemented the pottery brand as one of artistic quality and a solid<br>investment, which we can still see to be true to this day.<br>isshelf

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c1940's Navajo Stamped Silver and turquoise ashtray 4 5/8" x 3.75" with no<br>issues.<br><br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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c1940 Royal Winton Hand Painted Flowers Pansies Cigar Ash Tray. No cracks, chips, crazing or restorations, very minimal wear shown in pics. Measures 8.5" x 8", those may just be flutes on the side, or it may be an ashtray for large cigars. What it is now is rare and whatever you chose to use it for.

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c1900 Echte Bronce Austrian Bronze Boy marble ashtray. Likely originally an Ashtray hence the boy, would make a great change tray for the non-smoker. 6.75" wide x 3 5/8" tall. Solid bronze and marble, small chips to edge of tray. The boy could obviously be removed and remounted or displayed without a mount. isshelf

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c1890 Punch and Judy Vesta match holder/striker. Late 19th to early 20th<br>century, plated brass. 2 3/8" tall, with strong lid that makes and audible click<br>when sprung open and stays shut tightly.<br>trinketdrawer

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4 1950's Figural holder Ashtrays Germany, Czechoslovakia, Ardalt Japan The largest is the elephant at 8" long x 7" tall. Selling all four shown with no cracks, chips, or restorations. All good old ones from the 1950's. TW255

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Plate is 9" Ash tray is 5.75" tall. Both from same estate.

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1970's Peter Deneen Studio Pottery Ashtray. Really nice ashtray to use for whatever you want from the 70's or 80's. 5" wide x 2 1/8" tall. Peter Deneen began his lifelong journey with ceramics while studying pottery at Luther College in Decorah, Iowa. During this period he also began attending Marguerite Wildenhain’s Pond Farm School (located in northern California) in 1968. Peter went on to earn his M.A. from the University of Iowa in 1971. Inspired By Art & History During this time, Peter caught the inspirational fire of the Bauhaus movement of Walter Gropius in Post World War I Germany. The main thrust of the Bauhaus “was to create an environment which would nurture the bond between art, industry and trade through education; to insure the cooperation of industry and artists in the field of mass production.” ESTABLISHING DENEEN POTTERY In 1972, Peter and Mary Deneen established their first studio and showroom at Park Square Court in the Lowertown neighborhood of St. Paul. Here they began producing hand thrown functional and decorative pottery and dinnerware. “Form follows function,” was embedded within their work through the teachings from Marguerite Wildenhain, recalling the Bauhaus lessons she learned from Gerhard Marcks. It was during this time that Mary started to produce more commemorative items and ceramic figures, while launching a “Bear Essentials” line. White Picture corner top leftWhite Picture corner top rightWhite Picture corner bottom leftWhite Picture corner bottom rightEarly Days of Deneen Pottery 1974 PARK SQUARE COURT IN LOWERTOWN • “The Spin of a potter’s wheel brings prosperity, unfettered life-style.” This was the title of the article that ran in a local St. Paul publication around 1974. “Peter Deneen sits at his potter’s wheel, fingers fashioning burnt-cinnamon clay into pots and plates, goblets and candle-holders, tall, corked canisters and small spice bottles.” At this time, the Deneens wanted to open retail outlets similar to Pottery Barn, but make all of the products at their Lowertown studio. A favorite quote (of the current office) staff has Peter saying. “We’ll never be more than a handful of people. I’d never get larger than three stores,” says Peter.” “Don’t say ‘never,'” interjects Mary.” Wow, how the path has deviated from the plans made in 1974! tw129

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1960's Hawaiian Dreams Sunbathing Woman Ashtray Bathing Beauty Lot of Two. Selling both from the mid 20th century. No cracks, chips, or restorations, they both have some crazing. Largest is 8.5" x 6.25" tall. tw145

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1940's Fiesta Turquoise Ashtray. No cracks, chips, crazing, or glaze wear, very<br>clean.<br>5 7/16" wide.<br>TW169

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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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Antique Navajo Sterling Silver Tobacco Canteen Flask. Very nice heavy walled hand stamped tobacco flask from the first half of the 20th century. a few small dents, lid fits incredibly well making a likely air/water tight seal. Estate fresh from a nice collection put together long ago of various Native American artifacts. Comes with one of the nicest bronze display stands I've ever seen that fits this like a glove, obviously custom made for this important piece of history. Unmarked, tests coin silver or sterling. 3.5" x 2.5" x 1.25" 71.5 grams. b70

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70's-80's Presidential tobacco memorabilia US department of state zippo. From an ex diplomat/White House aide's estate, I acquired several items from this estate awhile back and just getting to them so I can't find the name but these are original items, the oldest being the box pack which I believe is Nixon Era, both packs empty with no tobacco. Zippo is a smaller "ladies" zippo, unused with no issues. hallshelf

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18th Century Silver, mother of pearl inlay tobacco box. Great piece 18th century<br>to very early 19th century. High content solid silver mounting with brass hinge.<br>Mother of pearl inlaid in another type of shell or horn. Inscription on reverse<br>side. Sponge inside held in place by a wax seal. Strong box with good hinge,<br>overall crazing to shell/mother of pearl. Unmarked. 4.5" x 2 7/8" x 1 1/8"<br>trinketdrawer

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

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WW1 Era book form trench lighter. Fully functional with no damage, the guts come out to change fluid/flint, all caps in place. My wife didn't take pics of mechanism out and I unfortunately don't and won't ever have time. Great, unusual lighter with no isssues. No identifying marks anywhere that I could find. Engraved faux pages on each end, not sure it was shown in the pics. isshelf

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Rare 1950's Mantequilla Del-KA Cermeria Nacional Venezuela Champ Austrian<br>lighter from South American Dairy. So significant wear, amazing condition, super<br>rare lighter if not the only one in existence.<br>TW253

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Antique Brass trench lighter. Good early lighter brass with covering, a gold or gold filled diamond on the front tha has the numbers -50-14 on the top of it, there were possibly numbers before the first dash. Needs a flint and fluid but otherwise functional. isshelf

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2 c1940 Brass/Sterling Lift arm lighters. Both from the first half of the 20th century, One 1 5/8 tall with top closed marked Mexico silver, tests sterling. One brass and rather unusual. Both needing flints and fluid but otherwise operational, sterling one missing fluid plug. Selling both.

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1993 Zippo bucking bronco Brass lighter. Needs a flint and fluid, otherwise in<br>good condition as shown with no dents or deep scratches, and a lid that's not<br>wobbly.<br>tw208

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1976 Named Vietnam War Zippo in box USS Biddle DLG-34. Clean lighter that's seen little use. Has the now no longer with us Navy Veteran's name Mike Zubay crudely but nicely engraved on it. Tight hinge, clean working condition, needs flint and fluid of course.

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

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Japanese pure silver wood lined box 5.25" x 3.75" x 2" tall, minor wear and<br>dents, overall attractive. Lined with lightweight wood interior. Likely intended<br>as a humidor, no tobacco smell. 402.3 grams. Center emblem possibly gold,<br>untested.

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

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Emerald in Matrix Intarsia Box by Konstantin Libman Russia This special box of polished emerald in matrix intarsia designed by Konstantin Libman is a sight to behold. The interior of this elegant hinged box is trimmed with black onyx and lined with wood with ample space for cigars. The piece comes inside a custom-made black-velvet lined wooden box. Measuring 7 1/2 x 5 1/2 x 1 3/4in. This box smells incredible when opened, was likely intended for tobacco but will obviously hold many things. This identical box was purchased at the auction below. Sold for US$ 4,825 inc. premium Lapidary Works of Art, Gemstones and Minerals 11 Dec 2019 Los Angeles https://www.bonhams.com/auctions/25524/lot/4047/?category=list&length=397&page=1 isshelf

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Danish Bari Special Handcut Smooth Freehand (7200) Tobacco Pipe Bari pipes often take a rather classic bowl and combine it with a more conservative (shaping) shank and stem that is beefed up on growth hormones. More often than not, when we get a Bari estate it combines a bowl and stem that are battling for design and element dominance rather than agreeing to unify. In the case of this bowl, though, the grain wins.

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c1890 Antique Carved Meerschaum Pipe with horses. Late 19th to very early 20th century, great case with functional snap. Pipe in good condition but missing stem. Case is 4" x 2"

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Measures 9" tall. The opening is 1 9/16" wide, base measures 4 13/16" wide. Guaranteed early to mid 19th century. All hand painted with dovetailed brass base. Chip on rim, still a rare enough piece to have significant value.

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Antique Carved beat up shoe. Nice piece with great patina likely 19th century. 6.5" long x 2 3/8" tall. All hand carved, no damage. Ready to serve the purpose you put it to. TW200

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2 Antique German Porcelain pipe bowls. 5" long hand painted a few scratches as<br>shown but no chips or cracks. Selling both.<br>tw138

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