1849 Sibour (1792-1857) Catholic Archbishop of Paris Bronze Medallion. Solid bronze, clean as shown, nice antique medallion, Measurement shown in both cm and inches.

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1850's Mercury glass Chalice and Curtain Tie Back. No cracks, chips, or restorations. Very good with very minor loss to silvering. Goblet is 4.25" tall x 3.75" wide. Curtain tie is 4.5" wide x 5 3/8" with screw.

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1851 Minton Majolica Charger with scene. Extremely rare 14 1/8" large Minton<br>Majolica Charger with Minton's 1851 date mark, I could find no other markings.<br>No chips, cracks, or restorations. Small glaze flakes one on one of the dogs<br>noses and another bottom right close to the plate stand shown in the pics. No<br>other issues.<br>While this may be an unrecorded charger, this exact border actually everything<br>outside of the interior game scene can be found on other Minton Majolica<br>chargers including the one with a bust of Henri IV and Maria de Medici in the<br>interior.<br><br>This would be one of the Earlier pieces of Minton majolica which was created by<br>Joseph Leon Francois Arnoux who was appointed Art Director at Minton in 1848.<br>His primary task was to introduce and promote new products. At the time there<br>was great interest in classical design and bright color. Arnoux decided to<br>reintroduce the work of Bernard Palissy, whose naturalistic, bright colored<br>"maiolica" wares had been popular in the 16th century. However, Arnoux used a<br>thicker body to make pieces more sturdy. This body was given a coating of opaque<br>white glaze which provided a surface for over painting in brightly colored<br>opaque glazes. Later, transparent glazes were used over relief molding. This new<br>Minton majolica was promoted, in London, at the Great Exhibition of 1851.

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1856 Texas Governors Elisha M. Pease/Edward Clark Signed Document. Interesting<br>document because it's signed by the Current Governor at the time Elisha Pease<br>and the Then Secretary of state and later Governor for a short time Edward<br>Clark. 12" x 16" document in 20" x 15" matting. It's loosely mounted to thick<br>framing paper and could easily be removed for re-matting. Expected toning with<br>no major issues, embossed state of Texas seal that may not show in the pics.<br><br>Clark moved to Texas in 1842 and set up a law practice.[1] He served in the<br>Texas Annexation Convention and two terms as a state representative in the Texas<br>Legislature. During the Mexican–American War he served on the staff of Major<br>General J. Pinckney Henderson and fought in the Battle of Monterrey.[2] When the<br>war ended, he served as secretary of state under Governor Elisha M. Pease and as<br>lieutenant governor serving under Governor Sam Houston.[1] When Sam Houston<br>refused to take an oath of allegiance to the Confederacy, Clark became<br>governor.[2]<br><br>Slave quarters of Edward Clark's home in Austin. He enslaved nine people.<br>Among Clark's first actions was to order the surrender of all fire arms and<br>ammunition from private merchants to the state. Furthermore, all privately owned<br>firearms were to be canvassed. Few weapons were ever turned in and most Texans<br>did not comply for fear of future confiscation.<br><br>After losing the governor's race by 124 votes to Francis Lubbock, Clark became a<br>colonel in the Texas militia during the American Civil War. In 1863 he joined<br>the Confederate States Army and was commissioned colonel of the 14th Texas<br>Infantry Regiment. He commanded the unit, as part of the Greyhound Division,<br>until being wounded in the Battle of Pleasant Hill.[1] A promotion to brigadier<br>general wasn´t confirmed by the Confederate Congress and he left the service;<br>however, in 1865 he was made a brigadier in the militia. He fled briefly to<br>Mexico at the end of the American Civil War, and returned home to Marshall,<br>Texas.[1]<br><br>Elisha Pease bio<br><br>Texas Republic<br>A native of Enfield, Connecticut, Pease moved to Mexican Texas in 1835. He soon<br>became active in the Texas independence movement and after the Texas Revolution<br>began, Pease became the secretary of the provisional government. He served as<br>the assistant secretary at the Convention of 1836 but was not an elected<br>delegate to the Convention. After independence had been won, Pease was named the<br>comptroller of public accounts in the government of the new but temporary<br>Republic of Texas.<br><br>Texas State<br>Following the annexation of Texas to the United States, Pease was elected to the<br>Texas House of Representatives in 1845 and reelected in 1847. In 1849, he ran<br>for the Texas Senate from District 11 (Brazoria and Galveston counties) but lost<br>to John B. Jones who was sworn in on November 5, 1849. Pease contested the<br>election, was declared the winner, and was sworn in four days later on November<br>9, 1849.<br><br>Pease first ran for governor in 1851 but withdrew from the race two weeks before<br>the election. He was elected in each of the next two elections, 1853 and 1855.<br>As governor, he paid off the state debt and established the financial foundation<br>that the state would later use to finance its schools and colleges.<br><br>In 1856, surveyor Jacob de Córdova of the Galveston, Houston, and Henderson<br>Railroad Company named a newly discovered river in West Texas the "Pease River"<br>after the governor.<br><br><br>The E. M. Pease Middle School is located at 201 Hunt Lane across from El Sendero<br>subdivision in the Northside Independent School District in San Antonio, Texas.<br>Civil War and aftermath<br>During the American Civil War, Pease sided with the Union. He nonetheless<br>enslaved several people; census records show ten enslaved people living and<br>laboring at Pease's Austin plantation in 1860.[2] After the war, he became a<br>leader in the state Republican Party and was appointed as the civilian governor<br>of Texas in 1867 by General Philip H. Sheridan, who was the military head of the<br>Reconstruction government. Pease's policies as governor alienated both<br>ex-Unionists and ex-Confederates and he resigned in 1869.<br><br>Elisha and his wife donated land to the City of Austin that would eventually<br>become Pease Park.<br><br>Pease died of apoplexy in Lampasas, Texas. He was buried in Oakwood Cemetery in<br>Austin, Texas.

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1860 Antique Bronze Statue with Woman Holding net. High quality bronze most<br>likely French from the third quarter of the 19th century. 10" tall and very<br>heavy for it's size as it's solid bronze. She has a tiny pin sized hole through<br>her hand that she's holding up indicating she possibly had something a string or<br>something in her hand at one point. No other issues.

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1860's Hotel Hot Tea Server Samovar Staffordshire Silver Lustre 15.5" tall x<br>11.5" wide. Circa mid 19th century with no cracks, chips, crazing, or<br>restorations. Some wear to the Platinum as shown, Spigot Turns and works. Rare<br>and unusual item.

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1860's Minton Majolica Game Pie Dish with lid. English Victorian majolica game-pie dish, Minton, c.1862, lid with game animals resting on ferns and leaves molded in relief, base modeled as a woven basket with oak branch handles, impressed mark Minton with date cypher, small area of restoration at tip of mallard's wing, approx 7"h, 13.25"l, 8"w, 6.25lbs. No damage or restorations other than the tip of the wing shown and described. isshelf

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1865 Dollhouse folk art pottery slip decorated Red clay rocking chair. Great piece 8.75" tall x 4 3/8" wide. Old professional restoration to right wing of chair. Looks to have been broken and professionally restored, but that was long ago, only visible under closed examination. I guarantee it to be of period, not totally sure whether it's American or British as I have seen similar examples from both countries. tw260

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1866 Thomas Bradbury and Sons Siverplate and Cut Glass Biscuit Jar. Very special<br>piece with diamond registration mark dating it to 1866. Top quality cut glass<br>with no cracks or chips, some expected very minor roughness to outside rim that<br>goes inside holder. No wear to plating. 7.25" wide at base x 8.5" tall.<br>TW167<br><br>The business traces its origin to Fenton, Creswick & Co, a partnership involving<br>Matthew Fenton (an apprentice of Thomas Law), Richard Creswick and William<br>Watson. They were active as silversmiths and Sheffield platers and were among<br>the first to enter their mark at the Sheffield Assay Office in 1773.<br>In 1789 Fenton left the firm and was replaced by Edward Oakes. The firm changed<br>its style to Fenton, Creswick, Oakes & Co. In 1795 the partnership was dissolved<br>and the business was continued under the style of Watson & Co under the<br>partnership of Thomas Watson, James Fenton and Thomas Bradbury I (a former<br>apprentice of the firm).<br>Later, Thomas Bradbury II (son of Thomas Bradbury I) and William Watson (nephew<br>of Thomas Watson) were admitted to the partnership.<br>In 1831 William Watson retired and the business was continued by Bradburys<br>(Thomas I and II) under the style of Thomas Bradbury & Son.<br>The firm was active at Arundel Street, Sheffield with London showroom at 12<br>Gough Square, Fleet Street.<br>In 1855 the firm changed its name to Thomas Bradbury & Sons, under the<br>partnership of Joseph and Edward Bradbury (sons of Thomas Bradbury II).<br>In 1877 the partners were Thomas Bradbury III (brother of Joseph Bradbury) and<br>John Sutherland Henderson.<br>The partnership was dissolved in 1888 and the firm was managed by Walton Turner<br>Bradbury, Joseph Bradbury Jr and Frederick Bradbury (sons of Joseph Bradbury<br>Sr). Frederick Bradbury is the author of the fundamental book "A History of Old<br>Sheffield Plate".<br>The business was converted into a limited liability company in 1905, under the<br>style Thomas Bradbury & Sons Ltd.<br>The company closed its activity in 1943 and dies and tooling were bought by<br>Atkin Brothers.

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1870 American Schoolgirl Needlepoint Sampler Jessie Pearson. 18.25" x 19.75" framed. B49

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Frame measures 14.5" x 12 3/8" canvas measures 7 3/8" x 9 3/8" really ornate 3"<br>deep frame with no major issues. No issues or restorations to painting. There<br>were two brackets added to the back to hold the painting in as the original<br>nails are missing. There was a modern cover over the back canvas to protect it,<br>that'll be re installed prior to shipping. Estate fresh at the time of this<br>listing this is the first time it's been for sale in a really long time.<br><br>He married his first wife in 1871, maybe this is her? Regardless this is one of<br>his earlier pieces from before he got famous.<br><br>Born  December 9, 1848 (1848-12-09) Lockport, New York<br>Resting place  Glenwood Cemetery, Lockport, New York 43°10′53.73″N 78°42′33.1″W<br>/ 43.1815917°N 78.709194°W / 43.1815917; -78.709194<br>Died  May 12, 1915, Stamford, Connecticut, United States<br><br>Burr H. Nicholls (December 9, 1848 – May 12, 1915) was an American painter who<br>studied art with Carolus-Duran in Paris and first exhibited his work in London<br>at Dudley Gallery. Most of his works were based upon scenes from the seven years<br>that he studied and lived in Europe.<br><br>Nicholls was married three times, but it was his marriage to his second wife,<br>Rhoda Holmes Nicholls, that caused a media sensation across the United States.<br>In 1897 both Burr and Rhoda Nicholls submitted paintings to the Paris Salon;<br>Rhoda's was accepted with honorable mention but Burr's was rejected. This<br>triggered a period of marital discontent followed by separation. Their divorce<br>was finalized in 1906 and was reported in many American newspapers. Journalists<br>warned women of the peril of pursuing vocations that put them in competition<br>with their husbands.<br><br>Early life<br><br>Burr H. Nicholls was born in Lockport, New York to Luman Nicholls and Ann<br>Halliday Nicholls. Painters in his family included his mother and his nephew<br>Henry, son of his brother Mark. Henry made copies of several of Burr's paintings<br>including a Brittany farm scene and The Red Staircase.<br><br>Marriage<br><br>His first of three marriages was to Alice McDonald or Alethea P. McConnell in<br>1871; she died in 1876.<br><br>Nicholls met the English artist Rhoda Holmes during a trip to Venice. They<br>married in 1884 at Lyminster Church in Sus, England, honeymooned in Venice and<br>sailed for the United States in the spring of 1884.<br><br>The couple exhibited their works in some of the same shows, like the Chicago<br>Interstate Industrial Expositions. In 1893 the Nicholls lived in a "cosey" home<br>and both had studios on the top floor. By 1896, Nicholls lived with his wife in<br>a West 50th Street mansion in New York City with their daughter and son, Rhoda<br>Olive and Arundel Holmes Nicholls.<br><br>The couple's marriage became contentious when in 1897 one of Rhoda Holmes<br>Nicholls works was accepted with honorable mention by the Paris Salon, but<br>Burr's work was denied. The couple separated the following year. Their divorce<br>was finalized by September 18, 1906 and "newspapers widely warned women about<br>the dangers of success and its potential influence on marital and domestic<br>bliss."<br><br>His final marriage was to Josephine Lewis of Buffalo, New York. Her brother was<br>Dr. Park Lewis, a "well-known physician".<br><br>Education and career<br><br>Nicholls studied art in Buffalo, New York with Lars (L.G.) Sellstedt and with<br>Carolus-Duran at the Paris Beaux Arts. He studied and worked in England, Paris,<br>Italy and Brittany for seven years which provided inspiration for his paintings<br>for years. Most of Nicholl's paintings were made of European subjects and<br>settings, like A Street Scene in France and A Quiet Corner, Venice, exhibited at<br>the Pan-American Exposition of 1901 held in Buffalo, New York.<br><br>His first exhibition was in 1879 at London's Dudley Gallery. Nicholls exhibited<br>at "every important exhibition in America" and the Paris Salon. His work was<br>favorably received at the 1891 Society for the Promotion of Art exhibition at<br>Eden Musee [New York].<br><br>The Buffalo Fine Arts Academy, now the Albright-Knox Art Gallery, had acquired<br>works by Nicholls by 1882.<br><br>He and his third wife were members of the Buffalo Historical Society.<br><br>Death<br><br>Nicholls died in May, 1915 in Lockport, New York.<br><br>Collections<br><br>Albright–Knox Art Gallery: Hunting up a Quotation and A Group of Fowls<br><br>Peabody Institute: The Vegetable Garden<br><br>Pennsylvania Academy of the Fine Arts: Effect of Sunlight<br><br>Andrew Carnegie and Parisian M. Johannot were collectors of his works.

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1870's Royal Worcester Lotus Form Satsuma Style Teacup and saucer. I didn't look<br>up the date code but it's from the last half of the 19th century. Slightly<br>smaller than a modern teacup but larger than a demitasse or coffee cup. 5 3/8"<br>saucer 2 78" wide cup without handle. Strong embossing's on both pieces very<br>high quality porcelain, a price tag from about a 1960's or so antique shop.

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1874 Antique American Painted Tin Shorebird decoy. Great folding decoy from the last quarter of the 19th century with good original paint with a few expected dings likely from stray pellets. 9.5" long x 10" tall with stand. Stand of course was made later for display purposes and the fit isn't the greatest. The stick, copper fitting and tin bird are all original. B70

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1875-1905 JB&SM Knowles American Sterling Fancy Serving Spoon Newton and Lincoln. I'm not sure if Newton and Lincoln was a hotel or what, reguardless it's a great spoon that's really clean in basically like new condition and it's about 120-140 years old. 8.75" long 54.5 grams. tw255

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1878 Royal Worcester Japonesque Satsuma Style Teapot. Very unusual perhaps one of a kind teapot. No cracks, chips, or restorations. 8.75" long x 6.75" tall. Composed of a low fired earthenware like satsuma so there is crazing with no exterior stains, some minor interior stains. tw203

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1880's Cornelius Desormeaux Saunders & James Francis Holland Shepherd Birmingham Sterling Silver Boxed Salt dips/Spoons Cranberry Liners. Talk about fancy, imagine the impression you'd make showing up to a dinner date with this set! Interesting Orientalist design with original flawless cranberry art glass inserts. Incredible original wood box measuring 6 3/8" x 2.5" x 3.25". The salts are 1 7/8" wide with 2.75" long spoons. No notable issues. tw152

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1880's Fanciest sterling spoons ever. Ok, maybe not fanciest ever but they are<br>great and better than anything anybody makes these days, better than most stuff<br>that was being made in that period. Two dated 1889 xmas gifts. All marked,<br>tested, guaranteed 80% silver or more. Longest 6" 113.3 grams total weight, all<br>solid and heavy for their sizes.

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1880's Figural Napkin Ring Boy with top hat 2.3" tall, slightly bent, no detectable markings, obviously victorian possibly Kate Greenway. Unpolished with possible wear to plating. B70

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1880's Figural Napkin Ring Tennis racket and ball. There's a scratch in the interior, it's not a crack, doesn't penetrate. Upon close examination the tip of the handle of the racket is broken off, worn plating, rare napkin ring. TW134

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1880's French A Klingenberg Limoges Demitasse cup and saucer set (7). Selling the 7 Eggshell porcelain demitasse (espresso) cup and saucers shown, they each look to have an ornate P monogram on the saucer incorporated into the pattern, really an amazing set all hand painted with absolutely no damage. No cracks, chips, restorations, or significant wear to gilding, they all ring like a bell. Selling all 7 with 4.5" wide saucers, small cups not tea cups, these are cabinet sized or for strong espresso coffee.A. Klingenberg was an accomplished Limoges artisan painter when he opened his own porcelain factory and decorating studio in the Limoges region of France in the early 1880's. There does not seem to be a surfeit of information about Klingenberg or his company other than that he merged with Charles Dwenger's studio sometime in the late 1890's or very early 1900's. Klingenberg & Dwenger together manufactured porcelain products, produced decorated finished porcelain pieces, and exported them world-wide until 1910 when the company closed its doors. While there may be a paucity of detail about A. Klingenberg and his company, there are numerous astonishingly lovely works of art that this short-lived company left behind.

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1880's Majolica Plate and shallow bowl. Selling both pieces of British majolica, largest 8.75" wide, neither with any damage or restorations, light stains on bowl. isshelf

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1882 18.5" Crown Derby Imari Tea Tray Rare form of early tray with an uncommon<br>pattern. No cracks, chips, or restorations, some wear to gilding as shown. 138<br>years old.<br>b22

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

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1885 Scottish Highlander's Academy Sterling Medal with miniature painting on<br>silk portrait. Unmarked tested sterling 3" tall x 1.75" wide x 38.4 grams.

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1890 Dutch sterling Tea Caddy Spoon. Hallmarked on front, tested sterling, hand engraved for xmas 1890 on reverse side. 5.75" long 23.9 grams.

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1890 Longwy Hand Painted French Faience Desk Stand Double Inkwell with Candle Holders. Rare and unusual piece atypical of the work Longwy is mostly known for. Hand painted with precision. One of the inkwell inserts has a very old restorations and stains from ink, over all crazing. NO other cracks, chips, or restorations. 10.5" wide x 6" tall x 6" deep. TW216

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1890's American Art pottery Kensington Tile 6" square, small chip on reverse side, no other significant issues. Kensington Art Tile Newport, Kentucky 1885 - 1895 Tile Heritage Collection Gift of Bob Smyth In 1881 the Hatt brothers, Arthur and Otto, established a tile works at Elm and Lowell Streets in Newport, Kentucky. Their company, Hatt & Hatt, was taken over by a group of investors in 1885 and renamed the Kensington Art Tile Company. During its short tenure as a manufacturer of dust-pressed art tiles, the combination of portraits and floral interpretations was most impressive due to the artistic talents of Herman Mueller and Mary Louise McLaughlin, among others. From an 1891 published report in “Illustrated Cincinnati” (courtesy of the Tile Heritage Library): “The main building is a substantial brick structure, three stories and basement in height and 40 by 200 feet in dimensions. The equipment for art tile-making purposes is of the most elaborate, complete and modern description, and includes four large kilns, which bake to the extent of 14,000 feet of tile at one filling. “The processes of preparation of the crude clay are as elaborate as they are complicated. The clay is first puddled and forced through great sieves by steam power. It is then dried and ground to a fine powder, and then moulded and pressed into the tile shapes, which are carefully baked, then removed and coated with the enamel and glazing liquids. They are then finally placed in the kilns and thoroughly glazed, when they are finally removed to the sorting and packing room, and forthwith shipped to destination. “The most extreme care is taken to have all the materials pure and accurately prepared, and the result is a perfection of quality, an elaborateness of finish, and a beauty and delicacy of colors and tints, nowhere else attempted, much less duplicated. An average force of 100 hands is employed, and ten teams are kept constantly busy.”

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1890's Haviland Hand painted Raised Gold Cabinet plate Floreal by Soustre 9.25"<br>wide with no cracks, chips, restorations, or significant wear.

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1890's Lenox CAC American Belleek Beer Mug 5 5/8"tall. No cracks, chips, or<br>restorations. Some small scratches to paint here and there. hand painted.

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1890's Pink to cranberry Cased Glass Peg student lamps Pair. It's really rare to<br>find a pair of these, especially with the shades. The whole lamps top, bottom,<br>burners, hardware, etc are from the 1890-1910. I obviously have no way of<br>knowing if these shades were on them 125 years ago or not, they were on them<br>when I got them and they look fantastic on them. As you can see some of the<br>hardware on the burners doesn't match completely, but they are functional, bases<br>and most of the hardware was polished and lacquered at one point in the last<br>half of the 20th century. Total height 18.5", the top shades are 6.25" wide.<br>They will obviously be disassembled for shipping.<br>TW234

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1890's T&V Limoges Porcelain Plaque Hand Painted Depicting Jesus with a crown of Thorns in incredible frame Tressemann and Vogt . Incredible piece rare to one of a kind. 14.25" diagonal framed with a 5.25" plaque. No significant issues to frame, no issues with plaque. 30 years or so ago someone did a funny job of securing the plaque in the frame. I'm leaving it this way because the plaque is obviously not damaged and I uncovered just enough to reveal the mark, there is likely an artist signature somewhere but I don't think it matters because it is obviously an accomplished artist. B32

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1890-1950 Unique Button Collection (47) these are all glass metal or mother of pearl except for the three on the right. I cherry picked these from a ton of buttons. They measure from .25" to 1.25" Part of a huge cache of buttons dating from 19th century to mid 20th.

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1892 Miniature Pewter child's Dollhouse Desk or desk caddy. One of a kind piece with incredible original patina. I believe it's a dollhouse piece. The estate it came from had lots of good early American antiques. 2" tall x 4 1/16" wide x 2" deep. Very heavy for its diminutive size.

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1897 Pennsylvania Tramp Art American Folk Art Wall Box Upside down Heart. Very cool, signed and dated, original paint. 7.5" wide x 8.75" tall. Signed top left dated top right. Minor loss to stars. B51

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18k Gold French Art Deco Lapis cufflinks for Nieman Marcus. I don't recognize the hallmark but these are the highest quality, similar to that of Van Cleef & Arpels, Boucheron. I feel this is likely an obscure hallmark only used for a short time by a well respected company such as the ones mentioned. 11/16" face, 16 grams.

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18k Natural Ethiopian Brown Opal/Diamond pendant. Beautiful pendant marked and tested 18k gold with appox .15ct diamonds and a .9ct natural opal 2 grams with no damage or significant wear. 1 1/8" tall x .5" wide.

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18k/Sterling Old Cuzco Peruvian Clip on Earrings. Nice quality vintage earrings 1" tall with no issues, clips and springs on clips work.

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18th Century Armorial silver Sugar Nips 4 7/8" long, tight with no issues. Hallmarks as shown. silverdrawer

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18th century Cast iron hardware locks Texas/Mexico frontier. From an Austin Artists/Geologists estate that had some connection to UT. I'm not sure where they originate from but they are almost as old as dirt, really nice, hand forged. LIkely older than the 18th century I am conservatively calling them. Longest is 8.75" long without the added part that goes behind the door or whatever it came off of. b7

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18th century Delt/French Faience Figure of Cockatoo. Marked as shown, fantastic piece with a professional restoration to neck and section right about legs. Appears to have been broken into three pieces. This restorations had to have cost hundreds of dollars. It's not easily apparent to someone that hasn't been handling ceramics their entire lives. Minor glaze wear in a few spots shown in pics.

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18th century Derby Porcelain boy figure. 6.25" tall, late 18th century with slight loss to tree limbs, something at each foot and minor wear here and there. No restorations, no cracks. isshelf

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18th century English Papier Mache Snuff box. Circa mid 18th century, good<br>condition with splits on each end of base, one glued. 3.25" wide x 2 3/8" deep x<br>1 3/8" tall. These were all purchased in New York at Parke-Bernet Galleries<br>before they were bought out by Sotheby's in 1964.

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18th Century Frankenthal Cup. Incredible intricate hand painted decoration, really crisp molding on top. No cracks, chips, or restorations, some small worn gilding spots on rim. 3 1/8" tall x 2 9/16" wide. b12

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18th Century French Chinoisiere Carved Abalone perfume bottle 3.5" tall x 1.75" wide with no damage. No identifying marks, 18th to early 19th century guaranteed. Hand engraved mounting and mother of pearl.

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They measure 7 7/8" tall and the bases are 3 11/16" wide. I'm 100% certain these<br>are very early antique figures circa late 18th to early 19th century. They have<br>Joseph Gaspard Roberts' mark and I have no reason to believe they aren't that.<br>He operated a factory until 1793. The man has an extremely old restoration to<br>his arm and a small chip under the base with no other damage. The woman has a<br>few small chips off her bouquet with no other damage.

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18th Century Heavy Brass Candlesticks Pair. 9.25" high One is 926 Grams, other is 969 Grams. Very heavy candlesticks guaranteed over 200 years old with a nice patina and no significant issues. One has old thread on the threads to tighen it when screwed together which is common. tw84

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18th Century Indian Katar Tiger Knife. Great early knife 18th century with<br>incredible patina, one piece construction high carbon steel. 16 1/8" long x<br>3.25" wide at widest point. Some significant wear to gold gilt decoration as<br>expected, tip has ben blunted, blade is fairly sharp.<br>tw53

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18th century Japanese bronze vase 5.25" tall x 4 1/8" wide at top with nice patina

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18th Century KPM Berlin Porcelain Woman with pear in hand figure. Woman with a pear in her hand : KPM Berlin, 18th century. Designed by Friedrich Elias Meyer in 1765, standing on a three-passage base with tree support. Porcelain with polychrome painting and. Underglazed blue sceptre and impressed v. 8.5" tall with loss to each of the three bowl and wear to gilding at base. No other chips, cracks, or restorations. issshelf

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18th Century Meissen Figure. 5.5" tall x 5.25" at widest point. Very old<br>professional restoration to left arm, loss to ribbon/flowers in hair and a few<br>tiny chips on ruffles and lace.<br>figcab

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18th century Pewter Reproduction Lot Antique. This is a lot of what after close examination believe to be reproduction 18th century pewter. It's a very old lot probably early to mid 19th century. I believe much time and effort was dedicated to making these pieces look authentic and old. They would look great in any colonial setting and I believe would fool or puzzle pretty much anyone even after close examination. Selling the whole lot. Largest tankard is 10.5" tall. tw94

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18th century Porcelain Cherub with applied Florals Possibly Capodimonte. Very early piece guaranteed 200+ years old. I believe it's capodimonte, but it could be German. Some restorations to body, missing bouquet, some missing petals. 5.5" tall. tw82

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18th Century Rudolstadt Volkstedt Napoleonic Horse figure. I guarantee this figure to be 200+ years old. If it is actually a depiction of Napoleon's horse then it would be early 19th century, but I believe it be from the last decade of the 18th century. 5 7/8" tall x 6.5" long, with a very old professional restoration that is now flaking off on the mid to upper body of the horse. Volkstedt Porcelain - History In September 1760, Georg Heinrich Macheleid (1723-1801) made a request to Prince Johann Friedrich, Fürst von Schwartzburg-Rudolstadt to establish a porcelain factory in Sitzendorf, Thuringia, Germany. Macheleid previously worked at a glass factory in Glücksthal. Independent of the ceramicists at Meissen, Macheleid conducted his own research into creating a hard paste porcelain.Prince Johann Friedrich granted Macheleid’s request in 1762 with the stipulation that the plant be located near his court in Schwarzburg-Rudolstadt. Macheleid established the Aelteste Volkstedter Porzellanfabrik (Oldest Volkstedt Porcelain Factory) in Volstedt which became part of Rudolstadt in 1923. Macheleid created a self-sustaining village for his workers.In 1767, Macheleid left. The factory came under the control of the prince, his wife, his son, and five other investors. They leased the factory to Christian Nome from Erfurt. During the latter half of the eighteenth century, Volksted gained a reputation for its well modeled and painted figurines, rivaling those of Meissen. In 1793, Prince Johann Friedrich purchased all outstanding shares. In 1797, Prince Ludwig Friedrich, Johann’s successor, sold the factory to his brother-in-law Ernest Constantine, Landgrave of Hesse-Philippstahl, who sold it to Wilhelm Greiner and Carl Holzapfel several years later. Nome left around 1800.isshelf

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18th Century Sceaux French faience snuff box. Good hinge, metal mounts reglued, no restoration or major damage to Faience pieces, small glaze flakes on bottom corners and one small glaze flake on front right edge. 5.25" x 4" x 2.25"Sceaux ware, tin-glazed earthenware and porcelain made at a factory in Sceaux, Fr., from 1748 to 1794. Both were skillfully painted in a large range of enamel colours with landscape and figure subjects and with minutely exact flowers and birds. Cupids in pink outline derived from the paintings of François Boucher were typical of the period of Louis XV. Pieces decorated with naturalistic flowers, fruit, and the like in relief may have been modeled by Richard Glot, who purchased the factory in 1772.Faience, or tin-glazed and enameled earthenware, first emerged in France during the sixteenth century, reaching widespread usage among elite patrons during the seventeenth and early eighteenth centuries, prior to the establishment of soft-paste porcelain factories. Although characterized as more provincial in style than porcelain, French faience was used at the court of Louis XIV as part of elaborate meals and displays, with large-scale vessels incorporated into the Baroque garden designs of Versailles. Earlier examples of French faience attest to the strong influence of maiolica artists from Italy. Later works demonstrate the ways in which cities such as Nevers, Rouen, Lyon, Moustiers, and Marseille developed innovative vessel shapes and decorative motifs prized among collectors throughout Europe.While faience can be created from a wide mixture of clays, it is foremost distinguished by the milky opaque white color achieved by the addition of tin oxide to the glaze. French faience is typically divided into two types. Grand feu (high fire) describes pieces that have been decorated with glaze and metallic oxides before being fired a single time at a high temperature of around 1650°F (900°C). Petit feu (low-fire) faience, developed in the second half of the eighteenth century, refers to a process whereby the clay body is fired before being glazed and decorated with metallic oxides and then fired again at a lower temperature; pieces can also go through a third firing. Grand feu pieces have a more limited color palette that consists of blue, yellow, brown-purple, and green. By contrast, the lower firing temperature of petit feu faience enabled both greater precision in painting techniques and variety in the range of colors.tw108

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2 Guaranteed Authentic 18th century lighting devices for one price. The spiraled<br>candlestick is missing the piece that pushes the candle up. Candlestick is 8.5"<br>tall iron with a wood base. Both would hold standard sized tapered candles.

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So I got lucky while photographing, never thought to check for a makers mark. It<br>is stamped what appears to be NA&LM. Though there's a very good chance I<br>butchered that.<br><br>Guaranteed Authentic 18th century lighting device, uncommon and desirable item.<br>Candlestick is 7.25" tall iron with a wood base. Both would hold standard sized<br>tapered candles.

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

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18th Century Xuande Marked Archaistic Chinese Bronze Censer. Very nice estate<br>fresh Chinese bronze censer, honorary Xuande mark. Fantastic authentic "no<br>brainer" patina inside and out. A very nice censer that has been well loved for<br>a few centuries. 6.75" handle to handle, 4 7/16" wide without handles, 3.5" tall<br>with handles. Strong and stable piece with no cracks or significant damage, very<br>old small pinholes one one side shown in the pics.

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18th-19th Century Tibetan Bronze Buddhist Tara Sculpture Antique Buddha. Very early Authentic antique Buddhist Statue of Tara. It has a wonderful natural patina and nice casting. There is a small very old chip in the base on the right side facing it. It measures 13" tall x 7.5" wide. It is fresh from a fine estate collection of Chinese antiques that was purchased in the mid 1970's. 6.5 pounds. TW102

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18th/19th century 9ct gold /sterling inlaid Tortoise Shell Traveling perfume<br>bottle holder. 2.5" x 2.5" x 1.25" overall, great and way above average, the<br>type of thing the elite of the period would have owned. Illegible hallmarks to<br>bottles lids, I believe gilt sterling, inside frame also hallmarked. Inlaid with<br>solid 9ct yellow and rose gold and sterling silver all hand engraved, hand done.<br>No damage to bottles, all stoppers present. One stable fracture to back left of<br>top section above hinge, another chip to front side diagonal of other. Both<br>really inconsequential as this is a rare, one of a kind museum quality item.<br>These were all purchased in New York at Parke-Bernet Galleries before they were<br>bought out by Sotheby's in 1964.

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18th/19th century 9ct gold /sterling inlaid Tortoise Shell Etui, Vesta, and<br>other Objects of Virtue. Selling the lot shown, fake "normal" sized femal hand<br>shown for scale. All intact with some sort of damage or loss. Most considerable<br>being lots of chips inside rims of top and bottom of gold inlaid fox box.<br>Selling the lot shown. These were all purchased in New York at Parke-Bernet<br>Galleries before they were bought out by Sotheby's in 1964.

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18th/19th century Bronze Asian snuff box. Fantastic high quality bronze snuff<br>box, the lid fits amazingly perfect, best "no brainer" patina imaginable. Not<br>totally sure of the country of origin. I'm assuming Chinese or Japanese. Great<br>early box with no issues. 4 1/8" x 2 1/8" x 1.5" tall.<br>chinashelf

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18th/19th century Bronze Jester Bell. Incredible natural patina on this bell.<br>Really nice detailed, crisp casting. I honestly think it's possible that this<br>was created to summon a jester. Guaranteed mid 19th century or older, I can find<br>no references to a similar bell, small bend on base. 4.5" tall. It came from a<br>large collection of table/servant bells.<br>isshelf

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18th/19th Century collection coin silver slide temple eyeglasses. All<br>revolutionary war era to civil war era glasses. I believe they are all coin<br>silver. Only one is marked with the silversmith's hallmark J Colton, two others<br>numbered. 4 interesting and unique pairs with no significant issues. Two with<br>slide temples, one with folding temples.<br>isshelf

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18th/19th Century French Sevres style snuff box. Great early hand painted box with no damage, good hinge, lid stays shut when turned upside down. 3.5" x 2.75" x 1 5/8" tall.

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18th/19th century Japanese Jakushi school gold/silver/copper inlaid Iron Tsuba. With later custom fitted box. Tsuba 3 3/16" wide.

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19th century Japanese Samurai sword fittings collection. Selling the lot shown.

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18th/19th century Tortoise shell snuff box. 3.75" wide x 1 5/8" deep x 1 1/8" tall, 200 years of wear with no significant issues, completely stable crack front top left corner, close-ups shown in last two pics. These were all purchased in New York at Parke-Bernet Galleries before they were bought out by Sotheby's in 1964.

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19" c1905 Royal Rudolstadt Bisque Boy/Girl Figure Pair. Boy is 19" girl is 18" both in near mint condition. Boy has the tiniest flake the size of a flea on his base. No other cracks, chips, wear, or restorations. These are very uncommon especially in this size.

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19" Dian Malouf Large beaded crystals and sterling necklace. Hand tied, highest<br>quality faceted stones and sterling silver. Stones are 25mm wide. No wear to<br>stones 316.5 grams, heavy necklace with some wear to thread that holds it but<br>it's still strong and secure.<br><br>A visionary who has spent her life searching the globe for unusual objects, Dian<br>Malouf is a nationally recognized jewelry designer, published author, mother and<br>obsessive measurer of electromagnetic fields. Known for bold silver and gold<br>jewelry enlivened by diamonds and vivid semiprecious stones,<br><br>Dian Malouf is one of the few fine jewelry designers whose work is instantly<br>recognizable as hers alone. Dian has designed over 10,000 pieces since the first<br>silver dome ring that she made for herself launched the business by popular<br>demand in 1986, and many are one-of-a-kind pieces prized by collectors.<br><br>Dian frequently incorporates her passion for environmental causes, and political<br>and social themes into her designs.<br><br>anderas

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19" Ramone Navajo sterling silver onyx modernist lariat style necklace. Selling the necklace shown in good condition with measurements in pictures. Tested and guaranteed solid sterling silver. Weight and measurements in pictures. Circa last quarter of the 20th century, 19" long. Signed as shown.

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19" Vintage 14k clasp 14-15mm lapis lazuli beaded necklace. Nice quality vintage necklace with no issues. 122.2 grams. anderas

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19" Vintage Navajo sterling silver turquoise chip inlay squash blossom necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. 19" long, circa last quarter of the 20th century. Illegible hallmarks.

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19.5" c1850 Chinoisiere Blue Transferware Platter Staffordshire. 19.5" x 15.75" Guaranteed circa mid 19th century. Nice oriental scene. No cracks, chips, or restorations. Overall crazing with a few light stains. One line stain on footrim of rear that doesn't go through so I'm not going to call it a hairline. No identifying marks. TW5

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19.5" La Loop Sterling silver Eyeglass/Sunglass holder necklace Retired. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century to early 21st century. This is a retired/substantial design. Current designs of similar weight/quality retail for about $1500. No issues, slight wear.

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19.5" Vintage Navajo sterling silver coral shadowbox beaded pendant necklace. Selling the necklace shown in good condition with measurements in pictures. Tested and guaranteed solid sterling silver. Weight and measurements in pictures. Circa third quarter of the 20th century. 19.5" long.

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British sterling silver trophy cup, William Hutton & Sons Ltd., c.1903, engraved "Trooper H. Brace No. 4 Troop, D Squadron E.I.Y., Musketry, 1903," Sheffield hallmarks, approx 4.5"h, 2.25"diam, 2.71ozt, together with (1) photograph of a soldier on horseback marked "Trooper H. Brace E.I.Y. Es Hussars, 1900," photo: approx 5.5"h, 4.25"w **Note: The Es Imperial Yeomanry (a volunteer cavalry unit) participated in the Second Boer War, South Africa, 1899-1902, the likely location of the photo. Small dent in base of trophy, no other issues. tw154

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1906 Rochester Fair Schafer & Vater Egyptian Revival Jeweled Hair Receiver marked on base 4" long x 2 1/8" tall with no cracks, chips, or restorations. b37

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1907 Charles Wallace Quicksell Limoges Raised gold porcelain Syrup pitcher for Dr Herbert G Pettebone for Jessie Flick Beers. Great piece with no damage or restorations, very minimal wear to gilding. Interesting with the built in provenance. 5.75" tall. No markings other than what's shown, top quality porcelain most likely French. Quicksell Decorated a fair amount of Porcelain in the Early 20th century, I believe he was decorating in the US, possibly for Pickard. tw271

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1910 Meissen Figure of Cherub with Wings and Hands Bound. Mint condition with no<br>cracks, chips, or restorations. Very interesting 200 anniversary mark this<br>unique mark with dates 1710 and 1910 is well documented and designates important<br>pieces made in the year 1910. This Meissen figurine is depicting a seated cupid<br>or cherub with his wings and wrists tied behind his back, presumably to keep him<br>from getting into mischief. The figure was modeled by Heinrich Schwabe circa<br>1880. 4.25" tall.<br>TW180

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1910 Silverplate Inri Jesus On Cross Plaque Elmire Boucher 1870-1910 8.25" x 4" interesting item. Not sure what it's from, but it's 108 years old. S.M.G. Co. No wear to plating or dents.

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1910's Antique Arcade Cast Iron Lion Bank with good gold paint 4.75" long x 3<br>7/8" tall.<br>b41

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1911 Austin Texas Sumphony Concert Hans Harthan Director Program 6 1/8" x 3 7/8". Rare piece of Austin Memorabilia that shows it's always been an extremely cultured city.

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1911 Prince Regent Luitpold Plate by Rosenthal 8 5/8" wide with no damage or<br>detectable wear.<br>isshelf

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1912 Josef J Brabender Impressionism Oil on Board. I do not know a whole lot<br>about this artist, but I do know in the 30's and 40's he painted a lot of<br>miniatures. I believe he started off painting in Mexico then moved to Alaska.<br>Most of his miniatures were a thicker impasto paint in a similar style to this<br>one. I found a result of a 3" x 4" painting by this artist bringing $675 on ebay<br>in 2016, and a 2" square bringing $335 at Bonhams. 7.25" square painting 11"<br>square framed. No issues with painting, appropriate wear to frame.

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1919 American Tramp Art Sewing Box with Pincushion Top Dated WW1 Era 8.25" x<br>6.5" x 5.25" tall. Very minimal wear as shown, not a distraction, no significant<br>issues. Made from cigar boxes as shown from the exposed section on the base.<br>From a San Antonio, Texas estate.<br>The first picture is actually the back of the box with the initials on the front<br>and the date on the back.<br><br>Tramp art<br>Tramp art is a style of woodworking which emerged in America the latter half of<br>the nineteenth century. Some of tramp art's defining characteristics include<br>chip or notch carving, the reclaimation of cheap or available wood such as that<br>from cigar boxes and shipping crates, the use of simple tools such as penknives,<br>and the layering of materials into geometric shapes through glue or nails. One<br>technique used in tramp art is Crown of Thorns joinery.<br><br>History<br>Although widespread use of wooden cigar boxes in the 1850s sparked involvement<br>in tramp art, it was most prevalent during the Great Depression. Tramp art was<br>made around the world but it prospered in the United States. Examples can be<br>found in every state. The most common forms were the box and the frame and<br>although there were no rules or patterns to lend commonality in the artists’<br>work there were objects made in every conceivable shape and size including full<br>sized furniture and objects of whimsy.<br><br>Tramp art was a democratic art form made wherever the raw materials used in its<br>construction were found. It appealed to men who might have made an important<br>body of work such as ‘Sunflower’ artist John Martin Zubersky (active c. 1912 –<br>1920) or the wonderfully expressive wall pockets by John Zadzora (active circa<br>1910) but also to men who might have made one piece in their lifetime. It was<br>easy to make and appealed to anyone who had a desire to take a pocketknife to<br>wood.<br><br>There were countless men, some women, and even children who historically<br>constructed tramp art.<br><br>Origins of the Term<br>A 1959 article by Frances Lichten in Pennsylvania Folklife used the term "tramp<br>work" to describe crafts constructed from waste materials such as discarded<br>cigar boxes and assembled with a penknife. Contemporary scholars and art dealers<br>such as Clifford A. Wallach have noted that while this art form may have been<br>practiced among America's itinerant population, it was by no means unique to<br>them and was practiced by factory workers, farmers, and laborers in other<br>occupations.<br><br>In 1975 Helaine Fendelman published the first book on tramp art, Tramp Art an<br>Itinerant's Folk Art. The book acted as a catalog to the first museum show on<br>the art form sponsored by the American Museum of Folk Art.<br>b30

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1919 Bernardaud Limoges Lion Head Handle Jardinière and Pedestal Chinoisiere<br>decoration Artist Signed. Extremely rare shape especially with the pedestal with<br>even more uncommon decoration. 12" total height, 14" handle to handle, 9" wide<br>at the rim. No cracks, chips, or restorations. Minor loss to raised gold<br>decoration as shown in the pics, some wear to gilding on lion paw original base<br>where the extremely heavy Jardinière has rested for over 100 years.

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William B. Kerr sterling silver napkin ring, decorated with embossed depictions,<br>featuring different nursery rhymes: "Humpty Dumpty", "Puss In Boots", "The<br>Bears" and "Mary & Lamb". No monograms. Marked 5362.This marvelous napkin ring<br>is 1 3/4" in diameter, 11/16" wide and weighs 16.2 grams. Helen monogram shown,<br>Kerr mark obscured but that's what it is, with same numbers as others I've seen<br>in this shape with Kerr markings.<br><br>William B. Kerr Co. was a manufacturer of jewelry, flatware and hollow-ware.<br>Established in Newark, New Jersey in 1855, they are listed in the 1915 Edition<br>of the Trademarks of the Jewelry and Kindred Trades as having been located at<br>144 Orange St.<br>silverdrawer

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1920's 14" Wachenheimer Art Deco Sterling and blue jasper choker. 14" long x .75" wide x 29.2 grams with no apparent issues. The first Wachenheimer factory was located in downtown Providence and had 18 employees. Harry ran the operations, and Jacob and Samuel remained in New York with responsibility for sales. By 1908, the company employed about 30 workers and moved to the fourth floor of 36 Garnet Street, in the jewelry-manufacturing district of the city. Late in 1919, the brothers incorporated the firm along with John R. Rosenfeld, a Providence lawyer who had been associated with gemstone dealers earlier in his career. By the following year, Wachenheimer Brothers had grown to 76 employees, had opened a showroom at 303 Fifth Avenue in New York City, and had registered several patents and trademarks. They ceased operation around 1934 due to the Depression.

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1920's 2 Flower basket doorstops. Selling both one Hubley 256 6.75" tall, one attributed to Albany factory 1924 8 3/8" tall. Both good old doorstops from the early 20th century. The Albany factory one has a few coats of paint, the one under this one is gold.

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1920's 2 Small flower basket doorstops. Selling both, one 7 1/8" tall and one 5<br>5 /8" tall. Both guaranteed early 20th century American doorstops from the<br>1930's or earlier.

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1920's Abilene Building and Loan Association Texas Bank by Bankers Thrift corporation Chicago. 3" x 2.25" good condition with no key. Two coins rattling around inside I can't tell what they are. B14

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1920's AC Williams Graf Zeppelin Cast Iron Bank. No damage, good paint, 6.75" long. TW252

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1920's American Legion School Award For and Country Bronze medal. 2.5" wide, heavy well cast bronze medal with no issues. tw208

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