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Wilbur Musket Navajo stamped sterling - turquoise and coral shadowbox beltbuckle. 3 1/8" x 2 5/8", fits a 1.5" belt 57 grams, no issues.Wilbur Muskett Sr. started making jewelry in the 1960's. His son is a Navajo Silversmith, as well. He is referenced in Schaaf's "American Indian Jewelry III" and Hougart's "Native American and Southwestern Silver Hallmarks".All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Wilbur Musket Navajo stamped sterling - turquoise shadowbox belt buckle. 3 1/8"x 2 5/8", fits a 1.5" belt 54.6 grams, no issues.Wilbur Muskett Sr. started making jewelry in the 1960's. His son is a Navajo Silversmith, as well. He is referenced in Schaaf's "American Indian Jewelry III" and Hougart's "Native American and Southwestern Silver Hallmarks".All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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7.75" tall x 6.75" wide. No cracks, chips, or restorations. It is possible there<br>was once an additional lid, and there's wear to Gilding on top.

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William Lawrence deMatteo (1923-1988) Hand Hammered Sterling silver leaf dish<br>6.5" x 4.5" x 114.5 grams with no issues.<br><br>William Lawrence deMatteo (12 October 1923–14 May 1988), silversmith and master<br>craftsman, was born in New York City and was the son of Elizabeth Rommelman<br>deMatteo and William Gaitano deMatteo, an accomplished silversmith who<br>immigrated to the United States from Acciaroli, Salerno, Italy, with his family<br>when he was a boy. William Lawrence deMatteo grew up in suburban Bergenfield,<br>New Jersey, and attended schools in nearby Tenafly, all the while observing and<br>absorbing his father's skillful work. DeMatteo began studying sculpture and fine<br>arts at Columbia University in 1941, but after the United States entered World<br>War II he joined the navy in November 1942 and served in the Pacific theater as<br>a torpedo er pilot. On 14 November 1946, in Asbury Park, he married Jayne<br>Walpole, a painter who later cofounded an art gallery. They had three daughters<br>and one son. DeMatteo resumed his apprenticeship with his father and may have<br>continued his studies at Columbia before being recalled to active duty with the<br>navy during the Korean War. He was discharged in 1953.<br><br>Bill deMatteo, as he was usually known, visited the restored capital of colonial<br>Virginia while he was still in the service and asked to see the silversmith's<br>shop. Told that Colonial Williamsburg had none, he saw an opportunity for<br>himself. Soon after deMatteo left the navy, he returned to Williamsburg and in<br>July 1953 joined the staff as a silversmith. He created the entire silversmith<br>program and was responsible for the James Geddy Silversmith's Shop, where he<br>trained shopkeepers in interpreting craftsmanship to visitors, instructed and<br>supervised apprentices in all kinds of metalworking, and handcrafted<br>reproductions of eighteenth-century silver items for sale in the shop. DeMatteo<br>also revived colonial silversmith James Craig's Williamsburg shop, "At the Sign<br>of the Golden Ball." In January 1963 deMatteo was promoted to Staff Master<br>Craftsman and Master Silversmith.<br><br>In accord with Colonial Williamsburg's motto—that the future may learn from the<br>past—deMatteo spent much of his time in educational and advertising efforts.<br>Working from a research report that Colonial Williamsburg staff member Thomas K.<br>Bullock had prepared, in 1956 deMatteo published The Silversmith in<br>Eighteenth-Century Williamsburg–An Account of his Life & Times, & of his Craft,<br>a short history of silversmithing and techniques used in colonial days. DeMatteo<br>also provided much of the information for a 1971 video program, Silversmith of<br>Williamsburg, and the accompanying manual. In the film he demonstrated every<br>stage of making an eighteenth-century silver coffeepot, beginning with receiving<br>silver coins or scraps to be melted, discussing details of the commission with a<br>customer, methods and design, and shaping the piece with his hammer and<br>burnishing the completed coffeepot. In 1971 and 1972, deMatteo studied design,<br>silversmithing, and methods at Sir John Cass Department of Art of the City<br>London Polytechnic, and with professional London silversmiths; in 1975 he became<br>the first American craftsman to be elected an honorary foreign associate of the<br>Worshipful Company of Goldsmiths, in London.<br><br>As his skill became apparent to staff and visitors, deMatteo received many<br>requests to design and craft commemorative gifts. A town-crier's bell that he<br>made for Colonial Williamsburg to present to Sir Winston Churchill in 1955<br>appeared in a picture of Churchill on the cover of Life magazine the following<br>year. DeMatteo designed presentation pieces for the White House Correspondents'<br>Association annual presentations to Presidents John F. Kennedy, Lyndon B.<br>Johnson, Richard M. Nixon, Gerald R. Ford, and Jimmy Carter. He designed<br>numerous handcrafted gifts for visiting presidents, queens, kings, and prime<br>ministers, and the Department of State commissioned deMatteo to craft silver<br>trays for presentation to Egyptian president Anwar Sadat and Israeli prime<br>minister Menachem Begin at the Camp David Accords in 1978.<br><br>For a commission from the American Telephone and Telegraph Company in 1976 in<br>recognition of the centennial of Alexander Graham Bell's invention of the<br>telephone, deMatteo produced an abstract silver piece, a departure from his<br>colonial-style masterpieces, inscribed with Bell's first words transmitted over<br>his telephone. Despite his finesse, he was a modest man who insisted that he was<br>a craftsman, not an artist. DeMatteo was content to make beautiful utilitarian<br>objects that he believed did not rise to the level of imagination and required<br>of an artist. His devotion to excellence was acknowledged by the American<br>Institute of Architects, which in 1960 gave him its craftsmanship medal for high<br>achievement in industrial arts.<br><br>After twenty-six years with Colonial Williamsburg, in 1979 deMatteo left and<br>moved with his family to Alexandria. Together with his son, Chip deMatteo, and<br>Philip Thorp, a colleague at Colonial Williamsburg, he opened Hand & Hammer<br>Silversmiths. DeMatteo continued to explore and extend his range beyond<br>eighteenth-century forms. He was an affable man, noted for his disarming smile.<br>He was an intense perfectionist who was deaf to his surroundings while sitting<br>at his bench shaping precious metals with his hammer. He was also a resourceful<br>artisan who was known to make his own hammers when he failed to find suitable<br>ones in the market. DeMatteo once remarked that "being a silversmith is just a<br>delightful, lovely way to go through life" and that while he was not fully<br>satisfied with his silver work he was "very satisfied with the life I lead."<br>William Lawrence deMatteo died of leukemia at an Alexandria hospital on 14 May<br>1988. His son, who continued to work at the Hand & Hammer Silversmiths,<br>preserved his ashes.

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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 Fish abalone pins pair, measurements in pics. Selling the two pins 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 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 Sterling Pan American pin c1940's 6.31 grams, 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 tulip hand pin with amethyst 20.2 grams, other measurements in pics. Stone intact with possible chip(s) to top center of 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 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 stone inlaid cufflinks,<br>fully functional with no issues. 27mm wide, 17.4 gramsWilliam<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 Zunie (Zuni, 1938-1983) Channel inlay bolo tie 38" long with 2.25" tallx 2" wide slide. 32.1 grams.All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist, rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Willie Shaw Navajo Mother of pearl channel inlay sterling bracelet. Fits up to a 6 5/8" wrist, no issues.All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Willie Shaw Navajo Multi-Stone Sterling heavy stamped sterling earrings 1 5/8"<br>tall x 1 1/8" deep x .5" wide 14.7 grams with no issues.

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Willie Yazzie, Sr. (Navajo), 1928-1999 Overlay silver belt buckle 2" x 1 5/16" x<br>22.5 grams with no issues. Fits a 1" belt.<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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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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Willie Yazzie, Sr. (Navajo), 1928-1999 Roadrunner and Cactus Overlay silver belt<br>buckle 2 7/8" x 1 15/16" x 41.7 grams with no issues. Fits a 1.5" belt.Navajo<br>Overlay Artist Willie YazzieAfter the success of the overlay designs made at the<br>Hopi Guild many other silversmiths and shops incorporated overlay in their<br>designs (see Overlay is Not Always Hopi Made). Navajo trader Dean Kirk opened<br>his own trading post at Manuelito, New Mexico (between Gallup and the Arizona<br>border) by January 1941. The silver work made in Dean’s shop was typically<br>Navajo tourist type designs and hallmarked UITA22 (under the auspices of the<br>United Indian Traders Association) until about 1951. That’s when Kirk designed a<br>series of overlay pins to be made by Navajo smiths in his employ incorporating<br>Hohokam and Mimbres designs. These designs proved to be very popular, as a 1958<br>newspaper advertisement for Enchanted Mesa in Albuquerque promoted “Dean Kirk’s<br>Navajo Overlay Silver”. The overlay pieces made at Kirk’s shop were rarely<br>hallmarked.However, one of the Navajo silversmiths who worked for Dean Kirk was<br>Willie Yazzie, he made his own hallmark and used it on pieces he made in Kirk’s<br>shop.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.According to Social Security records, Willie A. Yazzie was born at<br>Chinle, Arizona in 1928. His son says he learned silverwork at Dean Kirk’s<br>trading post in Manuelito in the early 1950s, and created his touchmark (or<br>hallmark) no later than 1960, and after that time his pieces made at Dean Kirk’s<br>would have included his gourd dipper hallmark. His designs often incorporated<br>animal figures such as roadrunners or Navajo designs including Yeis and Father<br>Sky. He never added “tamp work,” or a textured pattern to the background<br>designs.In 1960 Ansel Hall, concessionaire at Mesa Verde National Park, was<br>looking for a silversmith to demonstrate at the park during the summers months,<br>Dean Kirk recommended Willie Yazzie and he was hired by Hall. Willie worked at<br>Mesa Verde in the summers from 1960 to 1983, except for 1965 when he was sick.<br>Yazzie created a special hallmark to denote pieces he made at Mesa Verde. The<br>mark depicts Square Tower House, a ruin within the park, and was included with<br>his gourd dipper mark during the summers of 1960-1964 and 1966-1983.Willie A.<br>Yazzie died in 1999, but his family, including his widow, daughter and Willie Jr<br>continue the tradition of Willie’s overlay work. Willie Jr said that his sister<br>has most of their father’s tools and stamps, and that she still uses the gourd<br>dipper mark. Willie uses mostly his initials as his hallmark, but doesn’t do<br>much silverwork anymore, he is retired from the National Park Service where he<br>was a ranger at Canyon de Chelly. Willie, who lives in Chinle, said his sons do<br>a little silversmithing, but that they are busy and don’t have much time for it.

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Wilson Navajo Sterling Heavy stamped cuff bracelet. No damage or significant wear.

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BRONZE MEDAL FROM THE UNIVERSITY OF COLOGNE FOR THE 550TH ANNIVERSARY. (byWolfgang 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 1962 Hamilton Front load watch works 27mm dial. This came from a 14k gold front loading watch. It is in working condition, ticking, keeping good time. Also comes with crown that attaches via a groove. Crystal included but damage to crystal. The watch this came out of did not open in the back, the works/dial come out from the front after the crystal is removed. The crown is original with a big H on it, mostly gold.

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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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World Traveler Collection Sterling silver demitasse spoons. Selling the lot<br>shown, cherry picked from a huge collection. All various contents of silver,<br>mostly 800 and sterling, 113 grams total. Longest "Kangaroo Paw" 5"

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WRC Transjo Swedish Modern Art Glass footed bowl. 4 5/8" tall x 6 3/8" wide with<br>no cracks, chips, or restorations.

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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 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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WW1 Era Preparedness Toothpick holder with soldiers. 2 1/8" tall with a few very small chips on top rim, no other chips, no cracks.toothpickdrawer

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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 Era Waco Texas Add a Bank Citizens National Bank Lot (3) Selling all three. The tan one is mint in original box, other two in good working condition clean and attractive. No significant blemishes not shown in the pics. I only have one key that works for all three banks. They measure about 4.25" wide.

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WW2 Japanese Military Spurs. They have replaceable rollers which are missing.TW30

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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 Air Corps Wings with Star HJ. 1 5/16" wide x 1 3/16" tall.<br>b41

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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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WW2/later US Military Aircraft Temp/other gauges AN-5774-15. Selling the three untested gauges and probes shown. The largest one is missing the glass.

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Yamazaki Shoten [山崎商店] (1893 ~ 1990) Japanese fine silver bud vase. Solid high<br>content silver, nice warm patina...If you would like me to hand polish it<br>request upon payment please and I'll do it before shipping. Otherwise I won't.<br>8.25" tall x 3.75" wide x 201 grams with no issues.

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YSL Gripoix Brooch Yves Saint Laurent Vintage Authentic Modernistic c.1980's<br>2.75" wide x 1 5/8" tall with no issues.

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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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Zealandia Shell and Fossil Sterling Native American style pin 2 5/8" x 2 1/8" x 21.1 grams, no damage or issues. Very well made, retired, vintage, hard to find pin.

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