Antique Silver Hindu Ganesha Bib Necklace. Nice old heavy piece 104.3 grams.<br>Marked 80 in 4 places, I'm assuming that means 80% silver. I tested it and it<br>tests over 80% but below sterling. Total length is about 14.5" so it would fit<br>most as a choker, it has an old cloth rope holding the bottom links together,<br>one bottom dangle is missing but another could easily be removed to even it out.

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Antique Silver Thistle engraved Fish server. Great 19th century fish server,<br>tests silver guaranteed solid silver not plate 80% or more. Hallmarks as shown,<br>not sure where they're from but likely for Scottish market. 10" long x 2 5/8" at<br>widest point. 62 grams.<br>silverdrawer

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Antique Sitzendorf Porcelain courting farm couple. Selling the two hand painted<br>German porcelain figures from the first quarter of the 20th century. Lady with<br>loss to one finger, no other cracks, chips, or restorations. 8.25" tall.<br>figshelf

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Unmarked, but guaranteed early 20th century Japanese or older. Tiny paint flake<br>on spout. No cracks, chips, or restorations. 3"" tall x 5" wide with handle.

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Unmarked, but guaranteed early 20th century Japanese or older. Tiny paint flake on spout. No cracks, chips, or restorations. 3 1/8" tall x 5" wide with handle.

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Antique Southeast Asian Carved Polychrom Bird Wall hanging. Guaranteed 19th to<br>first quarter of the 20th century with a no brainer patina. Great piece, likely<br>Burmese or Thailand. 14.75" tall x 8.25" wide. The colors are vivid but dulled<br>by dirt, a rub down of something similar to Howards Orange oil/beeswax would<br>really liven it up if so desired.<br>TW253

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Antique Southeast Asian Carved wood gold gilt figure. 8" tall x 5" wide with stand. The figure is likely early 20th century, the stand is fairly recent. Some loss to feet, one tooth, and the tips of hands. TW252

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Antique Spanish colonial / knife. Good early knife 17" total length, 11 x 2 1/8" blade. Solid knife with original tooled leather sheath that fits like a glove. Makers mark stamped on metal. Estate fresh piece from a large cowboy collection, never been to auction.  tw219

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Used with no breaks or bends. These are part of a large collection I'll be<br>listing. 5 3/8" long without leathers 1" Rowel.<br>Tw30

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Antique Staffordshire Bookends Man and Woman reclining on sofa bookend figures. 19th century with no cracks, chips, or restorations. 8.5" tall x 7.75" wide.. tw105

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Antique Staffordshire Cobbler and Wife bookend figures. 19th century with no cracks, chips, or restorations. 6.5" tall. tw105

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Antique Staffordshire Collie Dogs Oversized Pair 12" long x 11.25" tall<br>c.1860's. These are incredible and uncommon. The have no cracks or chips. Each<br>have had two legs professionally restored. It's very difficult to find as it's a<br>professional job. Two front in one, two rear on other. No other issues. It's<br>near impossible to find these undamaged, other dealers just aren't knowledgeable<br>or honest enough to call it.

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Antique Staffordshire Figure Highlander Couple with Clock c.1870 13.75" x 9"<br>wide. Slight firing flaw near base. No cracks, chips, or restorations. Clean<br>over glaze paint.

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Frame is 8.75" x 6", sight is 2" x 6" original frame. Stevengraph is in great<br>condition, original frame shows some wear.<br><br><br>The Fascinating World of Stevengraphs.<br><br>By Bill Poese.<br><br>THE FASCINATING silk pictures that we know today as Stevengraphs actually had<br>their origin in a depression in England's far flung textile industry, and<br>Richard Cobden, a 19th century English economist and statesman, may claim some<br>of the credit.<br><br>In 1860, the so-called Cobden Treaty, a free-trade treaty negotiated by Cobden<br>and removing England's protective tariff on silks, brocades and ribbons, among<br>other things, took effect. Its impact upon Coventry, where English ribbon<br>weaving had been concentrated for 150 years, was devastating. Forty five per<br>cent of Coventry's population earned their livelihood from ribbon weaving. Looms<br>were destroyed, and during a two-year period 9,000 persons emigrated to foreign<br>countries in search of employment.<br><br>But there was one man who was resourceful enough to overcome the blow<br>sufficiently to provide for his own family, the weavers in his employ, and, in a<br>small way, to bolster the economy of Coventry. This man was Thomas Stevens, born<br>in 1828 in the outlying district of Foleshill.<br><br>As a boy, Thomas Stevens had learned the ribbon weaver's trade at the firm of<br>Pears and Franklin in Upper Well Street, Coventry, and in 1854 he set up his own<br>business in Queen Street. He had learned all the aspects of his trade well and<br>the jacquard loom was of particular interest to him.<br><br>This loom was a French invention of about 1790 of Joseph Jacquard that had been<br>introduced into England in 1820, and its excellence was recognized quickly, so<br>that by 1838 as many as 2,200 jacquard looms were thumping in Coventry. The<br>principle of the jacquard loom is based upon the fact that mechanically-operated<br>devices controlled loops and pulleys to weave patterns in textiles.<br><br>Thomas Stevens improved, adapted, and refined the loom by a series of inventions<br>so that he could produce silk pieces that have exquisite detail with what seems<br>to be a three-dimensional effect. He produced pictures, musical notes, lettering<br>and portraits of amazing beauty. The first step in producing Stevengraph works<br>was an artist's drawing on squared paper. These designs were originals, copies<br>of portraits, copies of prints, and often of texts in the manner of illuminated<br>manuscripts. The Victorian love of covering the entire surface of the piece is<br>often in evidence in these pieces. The squared paper pictures look like designs<br>for cross-stitch embroidery work.<br><br>Large cards were made that carried out the artist's picture and a separate card<br>was made and per- forated for each color in every single woven line of the<br>picture. The cards were put into an endless chain arrangement and placed in the<br>Jacquard loom to regulate the operation of the warp threads. Every time the<br>shuttle carrying the weft was placed across the loom, a different card calling<br>for a variation in the warp threads and consequently in the pattern was brought<br>into use. Many pieces used ten to 12 colors. After the entire pattern was<br>completed, a space was provided and the pattern began to repeat itself. In this<br>way, the weaver produced spools of beautifully woven picture ribbons that were<br>later cut apart at the separating areas. Because of the work involved in placing<br>the cards in the loom, many picture ribbons were woven before a change was made<br>and a different set of cards was used. One 13-inch-long bookmarker that Stevens<br>produced required 5,500 perforated cards.<br><br>Thomas Stevens was not the only Coventry weaver who was able to survive the<br>depression by weaving pictorial ribbons nor was he the first to produce pictures<br>on the Jacquard loom. As early as 1801 in Lyons, black-and-white portraits had<br>amazed people. In 1855, James Hart wove silk pictures depicting Queen Victoria<br>and Napoleon 111, and in 1858 John Caldicott wove a ribbon with a portrait of<br>Edward Ellice, who was the Member of Parliament from Coventry. But the best<br>known of the jacquard picture weavers was Thomas Stevens. It is he who stands<br>out above the others and it is he who invented the term "Stevengraph."<br><br>By 1862, Stevens had produced nine bookmarkers of different designs. During 1862<br>he registered four new patterns: "Unchanging Love," "I wish you a Merry<br>Christmas," "Thanksgiving," and "Thy Bridal Day." During this same year he pro-<br>duced a few larger pieces that were desirable for framing, but he evidently<br>changed his mind about the pictures because he produced no more of them during<br>the next 16 years, confining himself, instead, to producing his popular<br>bookmarkers.<br><br>Just who made the first Stevengraph-type bookmarker is a matter of considerable<br>dispute and the contenders for the honor are John Caldicott, John Ratliff, and<br>perhaps Thomas Stevens. Among Stevens's contemporaries who did the same sort of<br>jacquard picture weaving were, in addition to those just named, the brothers<br>John and Joseph Cash, and Dalton and Barton.<br><br>In 1863, the royal marriage of the Prince and Princess of Wales, and in 1864,<br>the tercentenary of Shakespeare's birth gave the weavers ample subject matter to<br>satisfy the demands of a souvenir-hungry nation. Strangely enough, at this time<br>Stevens's competition dropped out of the race and left him a clear field for a<br>period of time to produce his bookmarkers and allied items.<br><br>By the late 1880s he had produced more than 900 items and among them are<br>sachets, birthday verses, Christmas and New Year greetings, calendars, fans,<br>valentines, ladies' neckties and sashes, emblematic sashes for fraternal orders,<br>pictures suitable for framing, and of course, the always popular bookmarkers,<br>many with tassel-tipped ends. They vary in size from 1 1/4 by 4 inches to 7 1/2<br>by 13 inches for the mounted pictures and his various items sold for as low as 5<br>cents, to as much as $14 for a sash. Stevengraphs were given as premiums to<br>people who subscribed to The Ladies Floral Cabinet in 1877.<br><br>Competition developed in the 1870s by Bolland and Welch and Lenton, who copied<br>his bookmarkers, and in the 1880s by W. H. Grant, who imitated his mounted<br>pictures.<br><br>Stevens became the father or seven children. In 1878 he moved to London to<br>supervise his expanding business. By this time he had sales agencies in New York<br>City, Cincinnati, Leipzig, Glasgow, Dublin, and Londonderry, in addition to<br>London. To stimulate sales at the expositions that were popular during the<br>period of his greatest activity he sent weavers with his version of the jacquard<br>loom to many of them. There, people could watch a piece being woven, buy it and<br>take it home as a souvenir of the fair. Among the places he or his sons did this<br>were the Philadelphia Centennial Exposition, 1876; York Exposition, 1879;<br>Edinburgh, 1886; Manchester, 1887; Cincinnati 1888; London, 1890; Chicago, 1893;<br>St. Louis, 1904; and Paris, Antwerp, Liverpool, Bristol, Boston, Brussels, and<br>Paris.<br><br>After winning more than 30 medals and diplomas, Thomas Stevens died on October<br>24, 1888, in London and was buried in the family plot in Coventry. Two of his<br>sons, Thomas and Inger, who, before his death managed the Coventry plant, con-<br>tinued the business.<br><br>Thomas Stevens had established pleasant working conditions in an industry that<br>was noted for poor conditions. His plant had adequate lighting, ventilation, a<br>pleasant dining area, and it was sanitary.<br><br>The heavy German ings of Coventry in 1940 leveled his buildings and his<br>business, but he lives on in the appreciation of hundreds of antique collectors<br>who specialize in Stevengraphs, including 175 active members of the Stevengraph<br>Collectors' Association with its headquarters at Irvington-on-Hudson, N.Y., and<br>members in England, Canada, Scotland, Austrialia, South Africa, and New Zealand<br>as well as the United States.<br><br>The highest price paid at auction for a Stevengraph was $1,560 in April, 1972,<br>in London. The article was a mint example of L' Immaculee Conception and is<br>extremely rare. Many examples of Stevens's work, however, are offered for modest<br>prices that are within the price range of many collectors. Individuals are<br>concerned with authenticating items in their collections as being made by<br>Stevens and also with dating them. Both of these matters present difficulties. A<br>pattern could be set up on the cards in 1865, and many times years later the<br>same cards could be used again to produce identical items. There was no limited<br>edition with the mold or etching plate being destroyed. Certain items can be<br>dated by the events they portray and the dates they bear as the one for the<br>Philadelphia Centennial Exposition of 1876. Some can be dated by the number of<br>awards that are noted on the paper backing on some pieces. Many, of course, are<br>signed in the weaving. A diamond-shaped registry mark like that on pottery dates<br>many since this device was used from 1842 to 1883.<br><br>Thomas Stevens was a businessman who produced a salable luxury or souvenir<br>product. If the subject matter was attractive and the sentiment appealed, people<br>would buy them for themselves or as a little gift for a friend. As a result, he<br>and his successors' designs reflect Victorian tastes that were, in many cases,<br>universal tastes at the time. Among the portraits are those of Queen Victoria,<br>Shakespeare, King Edward VII, John L. Sullivan, Robert Burns, "Buffalo Bill"<br>Cody, Prince Otto von Bismark, and President and Mrs. Cleveland.<br><br>Under the general heading of views we find many English castles such as<br>Balmoral, Kenilworth, Warwick, and Windsor. Other views include the Crystal<br>Palace, Houses of Parliament, Tower of London and the Tower Bridge, and the<br>Centennial Exposition of Ohio Valley and Central States, Cincinnati, 1888.<br>Historical pictures include Columbus Leaving Spain, Landing of Columbus,<br>Declaration of Independence, and the Death of Nelson. Classical and legendary<br>subject matter can be found in those weavings that depict Peeping Tom, Leda, The<br>Lady Godiva Procession, and Bath of Psyche. Certain items display the<br>sentimentality of Victorians as God Speed the Plough, Good Old Days, Called to<br>the Rescue, Grace Darling, and For Life or Death. Many battleships and trains<br>are pictured and so are many sporting events. Among the latter are depictions of<br>Spanish bull, horse racing, fox , cricket, bicycle racing, tennis, and baseball.<br><br>Thomas Stevens was a highly skilled master of a delicate craft that resulted in<br>articles that will be held in high esteem as long as their silken fibers hold<br>together.<br>Tw61

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Antique Steel Easter Bunny Chocolate mold. Heavy steel, cookie/chocolate/ice cream mold from the first quarter of the 20th century.. Approx 8" x 14" numbered 8042 via stamp in the steel on top, no other markings i could find. TW58

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Antique Sterling handle sock darner. Late 19th to early 20th century, tested<br>sterling handle with a few small dents, N monogram 6" long.

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Antique Sterling Judaica Yad Torah Pointer with Agate handle. Guaranteed solid<br>high content 90% or more silver, tested with no detectable markings. 16" long,<br>147.5 grams with no issues. 100+ years of built up silver polish likely hiding<br>hallmarks.<br>tw125

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Antique Sterling repousse Chatelaine Stamp box Heart shaped pendant. Snaps shut and stays shut tightly, high quality repousse. Later versions of this are marked 925, this is marked sterling. Circa early 20th century. 16.7 grams.

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Antique Sterling repousse Chatelaine Stamp box pendant. 1.3" x 1.1" without bail. No damage, closes completely and stays shut tightly when worn. Apparently unmarked, tested and guaranteed solid sterling. 11.3 grams.

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Antique Sterling Repousse Master salts and Pepper shaker in presentation box. A really great set as shown, no bends or dents. Some wear to box but exterior is clean, the catch doesn't keep the box shut. Pepper 3.75" tall, salts 3.5" wide, British sterling hallmarks, tests sterling. Box measures 10.5" x 5.5" x 3.25" tw203

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Antique Sterling salt spoon lot. Selling the lot shown, largest 3" long Kirk and son repousse master salt spoon. 20.9 grams total. anderas

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Antique Sterling silver Mesh bracelet, unmarked but tested and guaranteed high content silver. 19th to early 20th century with no issues. 43.2 grams.

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Antique Sterling silver over glass flask. High quality art glass with no damage, buying the flask shown with leather cover on top. Sterling bottom fits like a glove but is removable. 6.25" tall x 4" wide. silverdrawer

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Antique Sterling Stamp case/chain with Valet Auto Strop Razor Utility knife/cigar cutter. Selling what's show, estate fresh exactly as found. The chain is marked coin, it's coin silver 90%, the stamp box is marked sterling. Knife is 2 3/8" long closed with a 7/16" opening for older style small cigars.

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Antique Stevens and Williams Red and white cameo glass vase. 7.25" tall with no cracks, chips, or restorations. Late 19th to very early 20th century.Cameo glass is a luxury form of glass art produced by cameo glass engraving or etching and carving through fused layers of differently colored glass to produce designs, usually with white opaque glass figures and motifs on a dark-colored background. The technique is first seen in ancient Roman art of about 30 BC, where it was an alternative to the more luxurious engraved gem vessels in cameo style that used naturally layered semi-precious gemstones such as onyx and agate. Glass allowed consistent and predictable colored layers, even for round objects.isshelf

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Antique Swatow Asian Stoneware Blue Decorated Fish Bowl. Very old, 19th century<br>or older. From a collection put together in the mid 20th century throughout<br>Southeast Asia. I'm not sure if it's Chinese or Southeast Asian. 9.75" wide x<br>3.5" deep. Crazing and a few chips on outside rim largest shown in last pic, no<br>other chips, cracks or restorations.<br>B62

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Antique Swatow Asian Stoneware Blue Decorated Fish Bowl. Very old, 19th century<br>or older. From a collection put together in the mid 20th century throughout<br>Southeast Asia. I'm not sure if it's Chinese or Southeast Asian. 8 1/8" wide x<br>3.25" deep. Crazing, no cracks, chips, or restorations, some mineral deposits on<br>exterior that would likely clean with some effort.<br>B62

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Antique Texas Branding Iron Candlesticks (5) 19th century. Great 19th century branding irons, some rust as shown. Tallest is 21", shortest 13", three of them make great candlestick, the ones with open handles. Selling the five shown.Guaranteed all are antique branding irons over 100 years old. They've been part of a collection of western items for 40 years.

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Antique Texas Honey Boy Ice Cream Bottle opener/spatula. Great piece from the<br>first quarter of the 20th century 11.75" long with no issues.<br>isshelf

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Antique Thai Bronze Miniature Musicians. Great little trio, solid bronze, very<br>heavy for their small size of tallest being 2 3/8". The center does have a very<br>old repair to the head/neck that I didn't see until almost through<br>photographing. No other issues. They all have a similar marking on their backs.<br>TW218

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Antique Tibetan Chenrezig Buddha Coral/glass inlaid metal shrine. 11.75" tall x 6.5" wide in the condition shown with a few cracked beads. I believe some of the beads are coral, most are glass, I believe this to be over 100 years old but I'm not really sure how old.

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Antique Tibetan Buddhist Ceremonial Dragon horn. 19th to early 20th century 17" long with dents as shown, works. The Tibetan horn (dungchen; Tibetan: དུང་ཆེན།, Wylie: dung chen, ZYPY: tungqên; mongol : Hiidiin buree ; Chinese: 法号; literally: 'dharma trumpet') is a long trumpet or horn used in Tibetan Buddhist and Mongolian buddhist ceremonies. It is the most widely used instrument in Tibetan Buddhist culture. It is often played in pairs or multiples, and the sound is compared to the singing of elephants. Tsultrim Allione described the sound: It is a long, deep, whirring, haunting wail that takes you out somewhere beyond the highest Himalaya peaks and at the same time back into your mother's womb. isshelf

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Antique Tibetan Coral/turquoise/glass foo lion/rabbit. Selling both in good condition, just a few missing turquoise beads which actually might be glass, lion is missing one tooth. Lions head moves. Lion is 5.5" tall x 5" long. Selling both.tw154

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Antique Tibetan Mixed Metals Snuff box. 19th century box with Silver(tested), copper, and brass. Nice natural patina and great workmanship. 4.25" tall x 3.5" wide. asianshelf

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Antique Tiffanyl Sterling Armorial silver wine Goblet(s) (Multiple available). At the time of listing there are 4 of these available, they've been stored for about 100 years without polishing. They are all basically like new with no dents, bends, or scratches I just don't have time to polish them all right now. I will hand polish the selected amount before shipping unless requested not to. Buying one goblet 4.75" tall x 3" wide at the rim x 135 grams in perfect condition, if you change the qty you will get more up to six. They all have the same hand engraved crest shown but no other monograms, no issues. anderascoll

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Antique Tiffany sterling Rams head master salt with B monogram. Selling one with two available by changing qty, both in same condition with no damage or significant wear. 3" wide x 1.75" tall x 72 grams. No dents, bends, or other issues. Selling one with two available by changing qty.Charles Tiffany was born February 15, 1812 in Killingly, Connecticut. About 25 years later, in 1837, Charles Tiffany and John Young, and later in 1841, they added J.L.. Ellis as a partner, began Tiffany, Young and Ellis in Lower Manhattan. That company at the time was founded at first to sell fancy goods and stationery. Tiffany bought his parents shares of the company in 1853 and changed the focus of the company to sell upscale jewelry and merchandise. Once Tiffany bought his parent’s shares, the company was renamed to Tiffany & Co. In 1867, Tiffany & Co. was the first United States based company to win an award for excellence in silverware at the Exposition Universelle in Paris. In 1868, the company became incorporated, had four stores and was on the right path to continue to grow to the company that it is today.A Humble Start When Young and Tiffany began their business, they originally started off with offering items such as stationery and merchandise before moving on to offering jewelry and silverware. The business continued to grow and manufacture jewelry, and later opened a location in Paris. His stores adopted the standards of European jewelry and therefore, sterling became established in the United States and the American jewelry market.Tiffany was determined to obtain one-of-a-kind jewelry. It was that desire which helped fuel how much his products were sought out, specifically among the upper classes of New York. The jewelry created by the company became partially well known because of the wealthy people who desired its products. In the 1830’s, Tiffany made it’s mark in the jewelry world at the time because they clearly marked the prices on their goods. This eliminated the chance that customers would haggle and try to negotiate the prices of the goods that they were purchasing at the time. Additionally, Tiffany’s was unique at the time because they only accepted cash payments and didn’t allow their goods to be purchased on credit.With the Civil War threatening jewelry purchasing at the time, Tiffany adjusted the focus of his company and ended up manufacturing swords, medals, light armor and many other items that were needed for war. In 1877, Tiffany & Co. had become such an established name that it easily influenced the industry and was able to make outlandish purchases. This when the now called “Tiffany diamond” (a yellow South African diamond) was purchased for $18,000 at 287 carats. The diamond was cut down to 128.54 carats over nearly a year and was eventually put on display in the Smithsonian. Today, Tiffany & Co. is an American worldwide luxury jeweler and specialty retailer, headquartered in New York City.Understanding the Markings While Tiffany & Co. is famous for the “Tiffany diamond” they are even more famous for their use of sterling silver. When looking at actually sterling silver that is made by Tiffany’s there are several markings that can help you figure out the origin and if a piece is indeed made by Tiffany’s or fake. At the start, there were several silversmiths who supplied silver flatware and holloware to Tiffany’s. Each of those silversmiths marked the pieces with their own marks in addition to marking them with Tiffany’s marks. Some of the makes of Tiffany’s sterling silver include William Gale, Gale & Hughes, Wood & Hughes, John Polhemus, Henry Hebbard, William Bogert, Grosjean & Woodward, Moore & Hebbard and John C. Moore.In 1868, Moore silversmithing firm was absorbed into Tiffany & Co. and Tiffany’s then began the production of its own silver. It was at that time that the silver was to be marked with the initial of the Artistic Director or the initial of the President of the firm but that was continued until the mid-1960’s. Each design on the silver that Tiffany’s creates represents the long and proud heritage that comes with the company’s history.

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Antique Tin Chocolate molds 2 Turtle Doves and Rabbit. Selling both from the first quarter of the 20th century. Largest 11" x 5" x 4.5". tw22

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Selling both mid to late 19th century. I've seen these called civil war<br>Inkwells, heard they've been dug at battle fields. I don't know about all that,<br>but they are 19th century for sure. One is Russian, the other unmarked. Both<br>sprigs, clasps, and hinges work well. One is missing the piece that covers the<br>spring to seal the jar. Many things would work for that if it matters. No other<br>issues other than appropriate wear. They're both 1 9/16" tall.

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Antique Traveling Optometrists kit. Very complete set from the last half of the<br>19th century, likely used up until the early 20th century. One wood box full of<br>lenses, then larger leather covered box with trial lenses and the glasses that<br>would fit the interchangeable lenses for the actual eye exam. The case also has<br>a removable tray for and a pouch up top for the eye charts shown. Selling<br>everything shown in as found condition with 100 years of dirt and grime, some<br>wear to exterior of cases and latches missing on wood lens box.

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Antique Tribal silver bracelet. Very old bracelet guaranteed solid silver (tested), recently acquired from a collection put together in the mid 20th century. 204 grams, again guaranteed silver of a fairly high content, 80% or more. Measures 2 5/8" across in the interior, 4" across the exterior. it has a few old stable cracks in the interior. Very old solid bracelet built like a tank.

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Antique Tribal Silver necklace. This was hanging on the wall of an American Diplomat's estate I purchased several years ago. The son's wife was Chinese the no longer with us diplomat spent most of his career in the Middle East/Asia. He had tons of great swords, etc that were diplomatic gifts as I assume this likely was. Tested and guaranteed high content silver 80% or more. Necklace approx 24" long, each side 10" and pendant 4". 165.9 grams.

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Antique Turkey Pewter Ice Cream Mold c.1900 chocolate or ice cream mold. 4.5" x 2.5". No issues, strong hinge. B8

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Antique University of Texas Austin Capitol souvenir lot. All 4 items from the first quarter of the 20th century, likely all pre 1910. No damage to any piece, selling all 4, largest 8 3/8" wide. The UT one being called Texas State University is very cool. blkcrateredbag

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Guaranteed 19th century or older. I believe it may even be 18th century. There<br>is no damage or restorations. The separations of the lace are from the firing.<br>Unsure of manufacturer. 4" tall.

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Guaranteed 19th century or older Extremely heavy piece of hard porcelain for its<br>size. Very Good quality. No cracks, chips, or restorations. 4.25" tall

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.<br>Guaranteed 19th century or older Extremely heavy piece of hard porcelain for its<br>size. Very Good quality. I believe there's very old professional restoration to<br>the right hand. No other damage. 6" tall.

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Antique Vienna porcelain figure man holding floral bouquet. No damage, weight and measurements in pics.

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Antique Viennese Bronze Conquistador on a Horse High Detail Miniature. Very nice 19th century bronze with incredible detail. The only identifying mark I could find on the base is a Stamped F, I'm not sure if Bergman marked any pieces like that. The quality is comparable to Bergman IMO. 8" tall to top of staff x 5" wide. No detectable issues. B29

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Antique Viking Ship Scandinavian Sterling Silver and Bronze Enamel Belt Buckle.<br>Very old antique piece most likely one of a kind. My guess is it's late 19th to<br>early 20th century but it might be older. The back is silver (tested. The front<br>is bronze with enamel. I didn't research the hallmark. Really nice work of art<br>with no issues. 2.25" wide x 1.75" tall.

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Antique Porcelain Figure group courting couple Drinking Tea on gilt wood Base<br>19th century Large7" tall x 8" wide without base. Base is wood and is 11.5" x 9"<br>x 2.25" tall. Some wear to the wood base. Lady has two fingers missing two<br>chipped leaves on base. No other damage or restorations.

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Antique Von Schierholz Dresden Candelabra. No cracks, chips, restorations, or<br>loss to petals. And yes I was very careful resting it slowly on the granite for<br>the base pics as I've been doing stuff like this for all my life. 14" tall x 11"<br>wide.<br>isshelf

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Antique Wavecrest art glass pin/trinket dish. 4.75" wide x 1.5" tall. No cracks,<br>chips, or scratches on glass.

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Antique Wedwood Black Basalt Kenlock ware Creamers Ottawa and Floral. Both estate fresh. One slightly larger 5 3/8" spout to handle x 2.25" tall and unmarked. It had a note in it dating it to 1798, I'm not sure if that's correct but it's obviously Wedgwood and I'm guaranteeing it 19th century or earlier. The slightly smaller one is from late 19th to about 1910, I don't have time to look up the date code. Neither have any damage, loss, or restorations. Selling both tw129

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Antique Yemenite Silver filigree Bracelet. Very old bracelet guaranteed solid<br>silver (tested), recently acquired from a collection put together in the mid<br>20th century. 215.9 grams, again guaranteed silver of a fairly high content, 80%<br>or more. Measures 2.5" across in the interior, 4.75" across the exterior.

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Antique Yemenite Silver filigree bracelet. Very old bracelet guaranteed solid silver (tested), recently acquired from a collection put together in the mid 20th century. 86 grams, again guaranteed silver of a fairly high content, 80% or more. Measures 2.75" across in the interior, 4 1/8" across the exterior. No issues.

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Antique Zuni Petit Point Sterling and Turquoise squash blossom necklace. Nice old diminutive squash blossom from the early 20th century. 20" long with a 1 5/8" x 2" long naja. It was likely worn by a young woman or child originally. 86.2 grams, very unique piece.

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Antonio Pineda (1919-2009) Los Castillo Modernist space age sterling cufflinks 1 5/16" x .75" face, 24.7 grams.Pineda is one of two living members of the Taxco School and is recognized as a world-class designer and a Mexican national treasure.   Pineda’s jewelry is especially known for its elegant acknowledgment of the human form. It is often said that a Pineda fits the body perfectly, that it feels right when it is worn. So, for example, a thick geometric necklace that might at first glance seem too weighty or rigid to wear comfortably is, in fact, faceted, hinged, or hollowed in such a way that it gracefully encircles the neck or drapes down the décolletage.  In addition, no other taxqueño jeweler used as many costly semiprecious stones or set them with as much ingenuity, skill, and variety as did Pineda. Only the most talented of silversmiths could master.

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Antonio Pineda (1919-2009) Mid Century Modern sterling belt buckle 2.5" x 1 3/8", fits up to a 1 1/8" belt. 42.9 grams. <br><br>Pineda is one of two living members of the Taxco School and is recognized as a<br>world-class designer and a Mexican national treasure. <br> Pineda’s jewelry is especially known for its elegant acknowledgment of the<br>human form. It is often said that a Pineda fits the body perfectly, that it<br>feels right when it is worn. So, for example, a thick geometric necklace that<br>might at first glance seem too weighty or rigid to wear comfortably is, in fact,<br>faceted, hinged, or hollowed in such a way that it gracefully encircles the neck<br>or drapes down the décolletage.  In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with as much ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master.

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Antonio Pineda (1919-2009) Taxco 970 silver modernist botanical pin, measurements in pics.Antonio Pineda<br>(1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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Antonio Pineda (1919-2009) Taxco 970 silver photo holder keychain. All info in pics, stays shut with catch loop. Holds .5" x 1" pics.Antonio Pineda (1919-2009)In the mountain town of Taxco in Mexico’s state of Guerrero,<br>large-scale mining can be dated to thesixteenth century, and silver is a way of<br>life. In the years following the Mexican Revolution (1910–20), jewelry and other<br>silver objects were crafted there with an entirely innovative approach,<br>informedby modernism and the creation of a new Mexican national identity. Today,<br>at the age of 89, AntonioPineda is one of two living members of the Taxco School<br>and is recognized as a world-class designerand a Mexican national treasure.<br>Nearly two hundred examples of Pineda’s acclaimed silver work willbe displayed<br>in Silver Seduction: The Art of Mexican Modernist Antonio Pineda, a<br>travelingexhibition debuting at the Fowler Museum Aug. 24, 2008.Significantly,<br>given Pineda’s many accomplishments and international renown, he identifies<br>himselfprimarily as a taxqueño, or Taxco, silversmith. From its inception, the<br>Taxco movement broke newground in technical achievement and design. While<br>American-born, Taxco-based designer WilliamSpratling has been credited with<br>spearheading the contemporary Taxco silver movement, it was agroup of talented<br>Mexican designers who went on to establish independent workshops and develop<br>thedistinctive “Taxco School.” These designers incorporated numerous aesthetic<br>orientations—Pre-Columbian art; silverwork, images, and other artwork from the<br>Mexican Colonial period; andlocal popular arts—merging them within the broad<br>spectrum of modernism.Pineda himself is lauded for his bold designs and<br>ingenious use of gemstones. Silver Seduction tracesthe evolution of his work<br>from the 1930s–70s, and includes more than fifty each of necklaces andbracelets,<br>as well as numerous beautiful rings, earrings and diverse examples of his<br>hollowware andtableware. All of the works feature Pineda’s hard-to-achieve<br>combination of highly refined and hand-wrought appeal.Pineda’s jewelry is<br>especially known for its elegant acknowledgment of the human form. It is<br>oftensaid that a Pineda fits the body perfectly, that it feels right when it is<br>worn. So, for example, a thickgeometric necklace that might at first glance seem<br>too weighty or rigid to wear comfortably is, in fact,faceted, hinged, or<br>hollowed in such a way that it gracefully encircles the neck or drapes<br>seductivelydown the décolletage.In addition, no other taxqueño jeweler used as<br>many costly semiprecious stones or set them with asmuch ingenuity, skill, and<br>variety as did Pineda. Only the most talented of silversmiths could master

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