Wedgwood Black Basalt President Eisenhower Bust 8.5" tall with no cracks, chips, or restorations, paperwork included as shown. Tw53

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No cracks, chips, or restorations guaranteed. A few discolored areas that may or may not clean. Measures 2" tall without Silverplate lid x 5.25" wide.

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No cracks, chips, or restorations guaranteed. Small worn glaze area on rim of<br>sugar. Sugar Measures 3.75" tall with lid x 5.25" wide. Creamer is 3" tall x<br>5.25" handle to spout.<br>B7

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Wedgwood Gold Florentine Gravy Boat and underplate. This pattern was retired in 1986, these two pieces have no damage or detectable wear, no crazing, no wear to gilding. 6" x 8" underplate. Selling the exact pieces shown. isshelf

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Wedwood Tri Color Heart Shaped Jasperware Box. No cracks, chips, or<br>restorations. 5.5" wide x 2" tall

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1970‘s Eleanor Weeka (1928-2012) Zuni needlepoint turquoise squash blossom necklace/ screw back earrings sterling silver. Solid sterling silver tested and guaranteed with no detectable markings, weight and measurements in the pictures. No issues, circa 1970‘s. 24" long, nice pieces with no issues.

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Weller Hudson Cherry Blossom Vase. 7.25" tall with no cracks, chips. or restorations. Some crazing with a few light stains. tw212

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West Texas Native American Prehistoric Water Bottle Possibly Caddo Quapaw. Extremely early piece likely 1000+ years old. I know it came with some stuff that was definately found in west Texas. Bunch of arrowheads and pieces, etc. Though it has more of a Incan/Mayan feel to it especially with the effigy on the spout. I'm sure it's not 20th century and it is what it's supposed to be. No restorations or cracks, small chip on rim. just shy of 12" tall x 7.5" wide.TW154

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Western mountain Landscape watercolor Painting Complex and Colorful signed<br>-Hare- 18.25" x 14.25" framed. 7.5" x 12" sight. Clean frame painting, and<br>matting.

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Wilbert Secatero Navajo sterling silver stamped belt buckle. Solid sterling silver with weight and other measurements in the pictures. Fully functional vintage condition with minimal wear.

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Wilbert Secatero Navajo Sterling turquoise and coral bolo tie Sterling slide and tips, 3" x 2 3/8" slide, 40" long, 79.6 grams. <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, rings photographed<br>on the appropriate sized finger when possible. With bracelets if the measurement<br>is not given in the description then inside circumference is shown where the<br>metal meets the number on the the cloth tape measure.

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Wilbert Verhelst (1923 - 2012) American Bronze freeform figure.<br><br>Measurements<br>height 7 3/4 inches<br>width: 10 1/2 inches<br>depth 2 5/8 inches<br><br>WILBERT VERHELST OBITUARY<br>Verhelst, Wilbert (Bill) Dallas Texas artist established the sculpture program<br>for the Art Department at SMU and headed that program until his retirement,<br>after 20 years of teaching, in 1986 becoming an Emeritus Professor. He was<br>warmly known to his students as "Ver". He is the author of the textbook<br>"Sculpture Tools, Materials and Techniques". He initiated in 1978 the first<br>Texas Sculpture Symposium which was held every two years for many years. His<br>commissioned large scale sculptures can be seen around the country and he has<br>shown many other sculptures in countless exhibitions. He is survived by his<br>wife, artist Susan Lecky, stepdaughter Peggy Savage, stepson John Savage,<br>daughter Bobbi Jo Miller and his sister Wilma Potter.

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Wilford Henry Navajo vintage cast sterling silver belt buckle with turquoise. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Fully functional. All items will likely have some age appropriate/expected wear, the older they are the more wear they should have. Circa last quarter of the 20th century.. Fits up to a 1.5" belt.

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William Singer Navajo Vintage sterling silver chip inlay turquoise belt buckle. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Fully functional. All items will likely have some age appropriate/expected wear, the older they are the more wear they should have. Circa third quarter of the 20th century..

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William Spratling silver modernist sterling screw back earrings sphere 18 grams, measurements in pics, no issues. . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling silver modernist sterling screw back hand earrings, a rare variation in all sterling. These are all one piece, typically they have an amethyst tulip. . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling Amethyst pre-columbian style pin 1 5/8" tall x 1 1/16" wide.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling Aztec style pin 1.5" wide with no issues.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling Aztec style pin 1/7/8" wide with no issues. c1940'sSpratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling Bird pin with amethyst 52.7 grams, other measurements in pics.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling Feather fur clip with amethyst 22.5 grams, other measurements in pics.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling fur clip 14 grams, other measurements in pics.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling Sterling Pan American buttons (4) c1940's .75" x 1" each. I think these go in open button holes, maybe on a shirt pocket back in the days. I think they were to celebrate a special Pan American 50 year thing in the 1940's. Selling all 4 shown for one price. . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling Silver Dome screw back earrings, no issues. . Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling sterling Bird pin with amethyst 20.9 grams, other measurements in pics. Stone intact and structurally sound with what appears to be natural fissures.Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling Amethyst cufflinks 18mm<br>wide 12.9 grams. William Spratling(1900-1967) Spratling, an architect and artist<br>who taught at Tulane University in New Orleans, came to Mexico in the late 1920s<br>and settled in the city of Taxco. Having developed an interest in Mesoamerican<br>archaeology and culture from his colleagues at Tulane, he traveled to Mexico for<br>several summers lecturing and exploring. He sought out remote villages in the<br>state of Guerrero, 110 miles from Mexico City, where in some places Nahuatl, the<br>Aztec language, was spoken. Spratling collected artifacts and contemporary<br>indigenous crafts. Spratling made a fortune manufacturing and designing silver,<br>but his true life's work was to conserve, redeem, and interpret the ancient<br>culture of his adopted country. He explained for North American audiences the<br>paintings of Mexico's modern masters and earned distinction as a learned and<br>early collector of pre-Columbian art. Spratling and his workshop gradually<br>became a visible and culturally attractive link between a steady stream of<br>notable American visitors and the country they wanted to see and experience.<br>Spratling had the rare good fortune to witness his own reputation -- as one of<br>the most admired Americans in Mexico -- assume legendary status before his<br>death. William Spratling, His Life and Art vividly reconstructs this richly<br>diverse life whose unique aesthetic legacy is but a part of its larger cultural<br>achievement of profoundly influencing Americans' attitudes toward a civilization<br>different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling fist cufflinks, fully<br>functional with no issues. 22mm square, 12.7 grams. William Spratling(1900-1967)<br>Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling fist cufflinks, fully<br>functional with no issues. 20mm wide, 14.7 gramsWilliam Spratling(1900-1967)<br>Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling Frog in pool cufflinks,<br>fully functional with no issues. 16mm x 12mm x 16.5 grams. William<br>Spratling(1900-1967) Spratling, an architect and artist who taught at Tulane<br>University in New Orleans, came to Mexico in the late 1920s and settled in the<br>city of Taxco. Having developed an interest in Mesoamerican archaeology and<br>culture from his colleagues at Tulane, he traveled to Mexico for several summers<br>lecturing and exploring. He sought out remote villages in the state of Guerrero,<br>110 miles from Mexico City, where in some places Nahuatl, the Aztec language,<br>was spoken. Spratling collected artifacts and contemporary indigenous crafts.<br>Spratling made a fortune manufacturing and designing silver, but his true life's<br>work was to conserve, redeem, and interpret the ancient culture of his adopted<br>country. He explained for North American audiences the paintings of Mexico's<br>modern masters and earned distinction as a learned and early collector of<br>pre-Columbian art. Spratling and his workshop gradually became a visible and<br>culturally attractive link between a steady stream of notable American visitors<br>and the country they wanted to see and experience. Spratling had the rare good<br>fortune to witness his own reputation -- as one of the most admired Americans in<br>Mexico -- assume legendary status before his death. William Spratling, His Life<br>and Art vividly reconstructs this richly diverse life whose unique aesthetic<br>legacy is but a part of its larger cultural achievement of profoundly<br>influencing Americans' attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling cufflinks 30mm both ways,<br>10.8 grams. Fully functional with no issuesWilliam Spratling(1900-1967)<br>Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts. Spratling made<br>a fortune manufacturing and designing silver, but his true life's work was to<br>conserve, redeem, and interpret the ancient culture of his adopted country. He<br>explained for North American audiences the paintings of Mexico's modern masters<br>and earned distinction as a learned and early collector of pre-Columbian art.<br>Spratling and his workshop gradually became a visible and culturally attractive<br>link between a steady stream of notable American visitors and the country they<br>wanted to see and experience. Spratling had the rare good fortune to witness his<br>own reputation -- as one of the most admired Americans in Mexico -- assume<br>legendary status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Spratling(1900-1967) Taxco Modernist sterling mixed metal cufflinks.<br>Each side 18mm x 14mm, 15.3 grams. William Spratling(1900-1967) Spratling, an<br>architect and artist who taught at Tulane University in New Orleans, came to<br>Mexico in the late 1920s and settled in the city of Taxco. Having developed an<br>interest in Mesoamerican archaeology and culture from his colleagues at Tulane,<br>he traveled to Mexico for several summers lecturing and exploring. He sought out<br>remote villages in the state of Guerrero, 110 miles from Mexico City, where in<br>some places Nahuatl, the Aztec language, was spoken. Spratling collected<br>artifacts and contemporary indigenous crafts. Spratling made a fortune<br>manufacturing and designing silver, but his true life's work was to conserve,<br>redeem, and interpret the ancient culture of his adopted country. He explained<br>for North American audiences the paintings of Mexico's modern masters and earned<br>distinction as a learned and early collector of pre-Columbian art. Spratling and<br>his workshop gradually became a visible and culturally attractive link between a<br>steady stream of notable American visitors and the country they wanted to see<br>and experience. Spratling had the rare good fortune to witness his own<br>reputation -- as one of the most admired Americans in Mexico -- assume legendary<br>status before his death. William Spratling, His Life and Art vividly<br>reconstructs this richly diverse life whose unique aesthetic legacy is but a<br>part of its larger cultural achievement of profoundly influencing Americans'<br>attitudes toward a civilization different from their own.

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William Waldo Dodge Westport Yacht Club hammered sterling silver creamer trophy. Weight and measurements in pictures, a zillion times nicer than the pictures suggest. Amazing work of art with no damage or significant wear. William Waldo Dodge, Jr. (1895-1971), architect and craftsman, was one of the leading figures in Ashevilles architectural scene as well as an illustrious and well-known silversmith. He was part of an important larger movement in Asheville that expressed the influences of the romantic and Arts and Crafts movements in a variety of media from architecture to silver, pottery, weaving, and other arts. His personalized work attracted liberal patronage, even during the Great Depression, from clients who could still afford to build, and his buildings remain treasured expressions of his craftsmanly approach to architecture. Dodge was born in Washington, D. C. in 1895, the son of William W. and Margaret Parker Dodge. His father was a patent attorney who headed a successful family legal practice in the nations capital. William, Jr., attended the Friends School in Washington and then Philips-Exeter Academy in New Hampshire. He was sent to Princeton University to prepare for a career in law, but after a year decided that he did not want to be an attorney and enrolled at the Massachusetts Institute of Technology to study architecture. He was graduated from MIT with a Bachelor of Architecture in 1916. From Cambridge, with World War I looming, he went to Plattsburg, New York, and enrolled in officers training school. He was commissioned as a second lieutenant and sent to France as a member of the American Expeditionary Force. Wounded in battle, he was awarded a Silver Star and Purple Heart. Exposure to chlorine gas during the war aggravated Dodges tubercular condition, and after the war, he was treated at the veterans hospital at Oteen near Asheville, North Carolina, a community long regarded as having a climate and surroundings beneficial to patients afflicted with lung diseases. This assignment brought Dodge to the Asheville area, where he spent most of the rest of his life. At Oteen he taught crafts to fellow patients and developed an interest in silver and copper smithing. After he was released from the hospital, Dodge moved to Connecticut and married Margaret Robinson, but a relapse forced him to enter Gaylord Tuberculosis Sanitorium. While he was convalescing there, the Dodges studied silversmithing. After his discharge, the couple moved to Asheville, where Dodge briefly taught physics and mechanical drawing at the Asheville Boys School. He opened a silversmith shop on Charlotte Street in Asheville and created over the years a unique and widely admired body of artistic silver work. Early in the 1920s, a prominent Asheville citizen asked Dodge to design a residence for him, and Dodge planned for him the lavish Tudor Revival style Hammond-Knowlton House (1925). Drawing upon his training at MIT, Dodd added architectural practice to his silversmiths craft. With Asheville in the midst of a boom period, he found abundant opportunities and in 1927 moved to a shop he designed and built in the new suburban community of Biltmore Forest, developed on a portion of the Biltmore Estate. An account of Dodges practice was published in the American Architect in November, 1928, illustrating his silverware, workshop, and studio, and describing him as “an architect by profession and a craftsman by avocation. In 1929 Dodge obtained a license to practice architecture in North Carolina, and he continued to attract or find commissions during the Great Depression. Blending English, French, and rustic elements already favored in the mountain city, where the mountain setting and the romantic (and French) aura of Biltmore exerted strong influences, Dodge rendered these themes in picturesque compositions enriched with handcrafted detailing that appealed to the wealthy residents of Asheville and Biltmore Forest. His own shop and other small buildingsincluding repurposed log cabins from the regiondisplay his intricately crafted details and rustic motifs on a modest scale, while larger houses such as the William A. Knight House II in Biltmore Forest combine brick, stucco, stone, and wood, and individually designed details of wood carvings, hinges, sculptures, and more to evoke the spirit of a French chateau. In 1942, facing the wartime hiatus in private construction, he and five other western North Carolina architects banded together to form the architectural firm of Six Associates to enable them to compete for defense contracts and other large projects. Although the firm continued and expanded after the war, in 1947 Dodge withdrew to resume his own practice, which he pursued until his retirement in 1956. His son William Waldo Dodge, III, followed him in the profession with a large practice in Raleigh. Note: A large collection entitled the William Waldo Dodge Architectural Drawings, 1916-1989 (MC 00372) was donated in 2010 to the Special Collections Research Center at NCSU Libraries. Although most of the drawings are from the firm of Dodge III, there are several by Dodge, Jr., especially from the post-World War II period. When processing is complete and further field checking can be done, additional entries will be inserted in the building list. In the meantime readers may consult the preliminary inventory at http://library.ncsu.edu/findingaids/mc00372.

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William Zunie (Zuni, 1938-1983) Channel inlay bolo tie 38" long with 2.25" tall x 2" wide slide. 32.1 grams.All precious metals are tested and guaranteed,

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Willie Yazzie Sr, Navajo vintage sterling silver bear paw belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a 1.5" belt. After the success of the overlay designs made at the Hopi Guild many other silversmiths and shops incorporated overlay in their designs (see Overlay is Not Always Hopi Made). Navajo trader Dean Kirk opened his own trading post at Manuelito, New Mexico (between Gallup and the Arizona border) by January 1941. The silver work made in Dean’s shop was typically Navajo tourist type designs and hallmarked UITA22 (under the auspices of the United Indian Traders Association) until about 1951. That’s when Kirk designed a series of overlay pins to be made by Navajo smiths in his employ incorporating Hohokam and Mimbres designs. These designs proved to be very popular, as a 1958 newspaper advertisement for Enchanted Mesa in Albuquerque promoted “Dean Kirk’s Navajo Overlay Silver”. The overlay pieces made at Kirk’s shop were rarely hallmarked.However, one of the Navajo silversmiths who worked for Dean Kirk was Willie Yazzie, he made his own hallmark and used it on pieces he made in Kirk’s shop.Much of the following information was relayed to Alan Ferg (archivist and archaeologist at Arizona State Museum) by William P. (Willie) Yazzie, Jr, in February 2018. Ferg’s investigation of an overlay belt buckle in his possession, lacking a hallmark, has led to previously unrecorded information about Willie Yazzie, as well as the identification of an additional hallmark used by the artist.Willie Yazzie made the overlay bolo at Dean Kirk’s shop, it includes a deer and stylized Hopi designs; a small piece of turquoise is inlaid flush in the deer’s body. His Navajo wedding basket pin incorporates a small piece of copper to symbolize the red band in traditional wedding baskets. Willie Yazzie made the overlay bolo at Dean Kirk’s shop, it includes a deer and stylized Hopi designs; a small piece of turquoise is inlaid flush in the deer’s body. His Navajo wedding basket pin incorporates a small piece of copper to symbolize the red band in traditional wedding baskets.According to Social Security records, Willie A. Yazzie was born at Chinle, Arizona in 1928. His son says he learned silverwork at Dean Kirk’s trading post in Manuelito in the early 1950s, and created his touchmark (or hallmark) no later than 1960, and after that time his pieces made at Dean Kirk’s would have included his gourd dipper hallmark. His designs often incorporated animal figures such as roadrunners or Navajo designs including Yeis and Father Sky. He never added “tamp work,” or a textured pattern to the background designs.In 1960 Ansel Hall, concessionaire at Mesa Verde National Park, was looking for a silversmith to demonstrate at the park during the summers months, Dean Kirk recommended Willie Yazzie and he was hired by Hall. Willie worked at Mesa Verde in the summers from 1960 to 1983, except for 1965 when he was sick. Yazzie created a special hallmark to denote pieces he made at Mesa Verde. The mark depicts Square Tower House, a ruin within the park, and was included with his gourd dipper mark during the summers of 1960-1964 and 1966-1983.

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Willie Yazzie, Sr. (Navajo), 1928-1999 Overlay silver pins (2) Largest 2", 18.9 grams total weight. <br><br>Navajo Overlay Artist Willie Yazzie<br><br>After the success of the overlay designs made at the Hopi Guild many other<br>silversmiths and shops incorporated overlay in their designs (see Overlay is Not<br>Always Hopi Made). Navajo trader Dean Kirk opened his own trading post at<br>Manuelito, New Mexico (between Gallup and the Arizona border) by January 1941.<br>The silver work made in Dean’s shop was typically Navajo tourist type designs<br>and hallmarked UITA22 (under the auspices of the United Indian Traders<br>Association) until about 1951. That’s when Kirk designed a series of overlay<br>pins to be made by Navajo smiths in his employ incorporating Hohokam and Mimbres<br>designs. These designs proved to be very popular, as a 1958 newspaper<br>advertisement for Enchanted Mesa in Albuquerque promoted “Dean Kirk’s Navajo<br>Overlay Silver”. The overlay pieces made at Kirk’s shop were rarely hallmarked.<br><br>However, one of the Navajo silversmiths who worked for Dean Kirk was Willie<br>Yazzie, he made his own hallmark and used it on pieces he made in Kirk’s shop.<br><br>Much of the following information was relayed to Alan Ferg (archivist and<br>archaeologist at Arizona State Museum) by William P. (Willie) Yazzie, Jr, in<br>February 2018. Ferg’s investigation of an overlay belt buckle in his possession,<br>lacking a hallmark, has led to previously unrecorded information about Willie<br>Yazzie, as well as the identification of an additional hallmark used by the<br>artist.<br><br>According to Social Security records, Willie A. Yazzie was born at Chinle,<br>Arizona in 1928. His son says he learned silverwork at Dean Kirk’s trading post<br>in Manuelito in the early 1950s, and created his touchmark (or hallmark) no<br>later than 1960, and after that time his pieces made at Dean Kirk’s would have<br>included his gourd dipper hallmark. His designs often incorporated animal<br>figures such as roadrunners or Navajo designs including Yeis and Father Sky. He<br>never added “tamp work,” or a textured pattern to the background designs.<br><br>In 1960 Ansel Hall, concessionaire at Mesa Verde National Park, was looking for<br>a silversmith to demonstrate at the park during the summers months, Dean Kirk<br>recommended Willie Yazzie and he was hired by Hall. Willie worked at Mesa Verde<br>in the summers from 1960 to 1983, except for 1965 when he was sick. Yazzie<br>created a special hallmark to denote pieces he made at Mesa Verde. The mark<br>depicts Square Tower House, a ruin within the park, and was included with his<br>gourd dipper mark during the summers of 1960-1964 and 1966-1983.<br><br>Willie A. Yazzie died in 1999, but his family, including his widow, daughter and<br>Willie Jr continue the tradition of Willie’s overlay work. Willie Jr said that<br>his sister has most of their father’s tools and stamps, and that she still uses<br>the gourd dipper mark. Willie uses mostly his initials as his hallmark, but<br>doesn’t do much silverwork anymore, he is retired from the National Park Service<br>where he was a ranger at Canyon de Chelly. Willie, who lives in Chinle, said his<br>sons do a little silversmithing, but that they are busy and don’t have much time<br>for it.

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

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Wilson Padilla Navajo sterling silver turquoise vintage belt buckle. Tested and guaranteed solid sterling silver. Weight and measurements in pictures, circa fourth quarter of the 20th century. Fits a 1.5" belt.

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Wolf Howling at the moon Hopi Overlay belt buckle sterling silver. Hallmarked clearly with a chiseled H or I. Tested and guaranteed solid sterling silver, fits a 1.75" wide belt. No issues, some expected wear. Circa fourth quarter of the 20th century. Weight and measurements in pictures.

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BRONZE MEDAL FROM THE UNIVERSITY OF COLOGNE FOR THE 550TH ANNIVERSARY. (by Wolfgang Wallner). Dragon ship above city coat of arms with lying Minerva holding an owl in her raised hand / inscription "University of the Hanseatic City of Cologne 1388 - 1938" 70mm wide, rare to find period but especially with original case and in such well preserved condition.

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Working Antique Tavannes Swiss Pocket watch 15 Jewels. Nice antique watch, ticking away, appears to keep good time. 45mm total width, approx 40mm dial. Case in good condition.

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Working Chonographe Suisse Works/Dial/Crystal/18k buttons 36mm dial, working condition, removed working, still ticking, chronograph works. It will be handled/stored carefully. The buttons are likely solid 18k gold as it came from an 18k watch with a damaged case. Including everything shown including the frame that goes inside the watch and the back that covers the works under the gold back. The crown was carefully removed to remove the watch. Nothing was damaged. This is ready to go in a watch.

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ww1 Bronze US Victory Medal "The great war for civilization" 3" tall with<br>ribbon.

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WW1 Era Trench Art Lamp 3 Lite. Cool trench art lamp that appears to have good<br>wiring just needs new lamp tops on it if you want it to be a lamp again. No<br>other issues.<br>TW87

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ww1 German Copper Shell Trench Art letter openers. Selling the two letter openers shown longest 8.25", both with the best 100 year old unpolished "no brainer" patina ever. I think these were made from a Grenade Mortar guide band. tw187

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WW2 Era Caterpillar Watch Fob Art Deco Sentinel Pocket watch. Selling the fob shown.

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WW2 Era Japanese Pathology Surgical blade. The top of the blade inscribed<br>Nothung... Nacht, the case inscribed Keijo Imperial University School of<br>Medicine Department of Pathology, Common Pathology. So possibly German made<br>blade. A few small chips in blade, otherwise sharp, not sure what type of handle<br>it had but it's not present. Box is 12 1/8" long, some wear and lose joinery to<br>box.

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WW2 Era Photomatic Navy soldier photo booth photograph. Penny for scale. tw255

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ww2 Era Sterling pilot wings tie bar. Wings just over 2" wide, marked sterling, I don't believe the top bar is sterling. 11.3 grams.

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WW2 Era Sterling silver Pilots sweetheart bracelet. Selling the bracelet shown with no issues.

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ww2 Manhattan Project Nuclear test site Patch and pin. Two authentic manhattan<br>project items estate fresh from a large ww2 collection assembled in the 80's.<br>They came in a small modern shadowbox partially shown hence the velco on the<br>back of the patch. Patch is 2 5/8" x 2", badge is .75" made by Whitehead and<br>Hoag. I'm including the glass fronted shadowbox that they came in.

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ww2 Sterling Pilots Sweetheart brooch. 2.75" x 2", 13.1 grams, marked and tested sterling.

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ww2 Sterling Silver Rifle Marksman Badge 3" wide. Good clean condition with no issues. 17.5 grams

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WW2 USN Western Boulder CO Fixed blade knife 10.25" long without sheather, 5.75" blade, overall sharp with slight bluntness at tip, blade untouched by me, original sheath missing fastener loop/button. isshelf

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Zanetto Maia Italian MCM Style Silverplate Pitcher. This pitcher isn't very old<br>but the quality is incredible and it retails for $480 new. It's in near mint to<br>mint condition with no dents or noticeable scratches or other wear. 7.25" tall x<br>9" handle to spout. If you see anything that looks bad in the pics it's either a<br>fingerprint or a reflection this thing is beautiful.<br><br>Zanetto<br>Veneto, Italy Silversmith<br>Zanetto, founded in 1963, is a workshop of highly skilled silversmiths devoted<br>to the crafting of decorative household objects in silver, silver-plate and fine<br>metal alloys. Their products are distinguished by a sophisticated blend of<br>innovative design and unparalleled workmanship. At the foundation of their<br>philosophy is the steadfast tradition of handcrafting every single item in their<br>production line, combined with the high sense of style the world has come to<br>expect from Italian design.<br>b22

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Zeno & Maryann Edaaki Zuni sterling intarsia inlay cross pendant. Solid sterling, weight and measurements in pics with no issues.

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Zeno & Maryann Edaaki Zuni Sterling and channel inlay cross. Larger than others I've seen. 2.75" tall x 1.75" wide x 7.4 grams with no issues.All precious metals are tested and guaranteed,

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Zuni Coral and Sterling Squash Blossom Necklace and earrings.. Necklace measures<br>26 inches in length without the Naja Drop. This necklace is done in<br>Mediterranean Coral and in a Snake Eye Pattern. The piece has 6 Blossoms on each<br>side which measure 1.5 inches long x 1 inch wide. The Naja measures 2.5 inches<br>long x 2.25 inches wide. The set has matching earrings which are for pierced<br>ears and measure 2 inches in length x 1 inch in diameter. Tested Sterling Silver<br>weighing 114.9 Grams.

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Zuni Dishta silver flush inlay turquoise necklace 19" long with 1" center pendant. 19.5 grams. <br><br> Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women's wrist.

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Zuni Native American Multi-Stone Channel inlay earrings. Estate earrings likely 20-30 years old, possibly never worn, on card as shown. Unmarked and tested sterling. One back is not original but works. 2 1/8" long x 3/8" wide x 7.5 grams.

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Zuni Native American Spiny oyster, turquoise, shell, and Jet sterling belt buckle, fits up to a 1.5" belt. 46.7 grams. Marked<br>or unmarked as shown in pics, weight and other measurements in pics. Sorry but<br>my jewelry is stored in a secure location and cannot be accessed for more<br>pictures, videos, or measurements until sold. If you look at<br>pictures/description your question should be answered. Thank you so much for<br>your time and consideration!<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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Zuni Sterling and turquoise snake eye necklace. Approximately 24" long with no<br>issues. 4" x 1.75" center pendant. Amazing bold statement piece. Hand signed<br>Zuni and some illegible initials.<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. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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Zuni Sterling and Turquoise petit point Earrings and pendant. Selling the set with no damage or issues. I know one back is missing on an earring, I'll replace it before shipping. Earrings 1 3/8"l, 1"w, (1) pendant, unmarked, approx 1.5"l, 1"w; 13 grams.

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Zuni sterling intarsia inlay bolo tie. Solid sterling silver slide and tips. Weight and measurements in pics. 43" long.. Looks to be signed JOB or JDB.

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Zuni Sterling Multistone inlay thunderbird with Stamped Bead necklace. Necklace<br>is 22" long, There's a 1" ruler at the bottom of the pics. Unmarked but tested<br>sterling, everything is solid sterling but the beads of course are hollow. No<br>damage or issues. I'll be listing several of these all different from an estate<br>collection in which the previous owners had a Native American trading post in<br>the last quarter of the 20th century. Total weight 48 grams.

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Zuni Sterling Multistone inlay Knifewing with Stamped Bead necklace. Necklace is<br>24" long, There's a 1" ruler at the bottom of the pics. Unmarked but tested<br>sterling, everything is solid sterling but the beads of course are hollow. No<br>damage or issues. I'll be listing several of these all different from an estate<br>collection in which the previous owners had a Native American trading post in<br>the last quarter of the 20th century. Total weight 39.2

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Zuni sterling silver turquoise/coral inlay butterfly pendant/pin/brooch. Selling the pendant shown in good condition with measurements in pictures. Marked as shown, weight and measurements in pictures.

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