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c1870 Meiji Period Japanese Plate Collection. Largest is 9.75", smallest 8.25" 2 are signed as shown, One has a small chip on the front at the bottom shown in pics. No other cracks, chips, or restorations. TW81

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c1870 Napoleon Porcelain Plaque Hand Painted in shadowbox frame. 19th century<br>plaque reframed in the early 20th century. 9" x 9.75" framed 3 5/8" x 4.5"<br>plaque.<br>B41

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c1870 Native American Silver Plains Indians rocker engraved hair piece. Amazing<br>piece of Native American hand worked silver from the c1870's-80's. 86.8 grams,<br>tested silver guaranteed at least 90% (coin silver) Just over 5.5" wide, an<br>amazing museum quality piece from a long time collection with the most awesome<br>natural patina. There's a hallmark shown in the bottom of the reverse side pic,<br>appears to be a T R in a rectangle. I'm thinking likely this was made from<br>another silver piece that was traded to the Native Americans, as I don't believe<br>they were mining silver. They were getting it by trade. I'll be listing another<br>piece from the same collection.

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c1870 Old Paris Hand Painted Soup Tureen with Lid. Impressed G D on base 130-150 years old guaranteed, French. No cracks, chips, or restorations, some wear to gilding. It's 12.5" handle to handle x 9.5" tall x 7.25" deep. B47

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c1870 Old Paris Porcelain Apothecary Jars Pair. Great pair of mid to late 19th century French porcelain apothecary jars. lids and bases have some writing and numbers underneath but nothing legible to me. These have no chips, cracks, or restorations, and only minor wear to gilding, likes like the finials had some touch up to the gold gilding with paint long ago but they are not restored, meaning the porcelain was not damaged, guaranteed. 11" tall x 5 3/8" wide. Selling both. tw188

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c1870 Old Paris Porcelain Bronze mounted Urn/ Oil lamp base. Great piece of mid to late 19th century french porcelain. The last three pics I show it fully assembled how it came into my life. I feel like some time in the 20th century they changed it, perhaps it was an oil lamp base, not really sure. I've reassembled it so you can decide which version of this suits your life the most, it comes apart easily. If I'm in a pinch when packing I may disassemble it. Fully assembled it is 18" tall x 9.25" handle to handle, It's about 14" tall without the base or top. All hand painted with no chips, cracks, or restorations. Some wear to gilding as shown.

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c1870 Old Paris Porcelain Decanter with Stopper Store Pharmacy Bottle. Nice early unusaly piece about 150 years old. One small chip on tip of stopper, no other cracks, chips, or restorations. TW73

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Very unusual above average toast rack, unmarked measuring 8.5" x 4.25" x 5"<br>tall. Gold finding is worn on rim and top of handle. No cracks, chips, or<br>restorations.

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c1870 Old Paris Porcelain Snuff Box/Powder Jar. No cracks, chips, or restorations, some wear to gilding. 3 5/8" wide x 1.25" tall. tw201

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c1870 Pewter Relief Plaque Signed crawford. 7 3/8" square 4.5" sight with no damage. Much better in person as it's difficult to photograph behind the glass. TW148

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c1870 Porcelain Plaque in Gilt Bronze Frame. Frame measures 6.5" tall, Hand Painted plaque is 2 5/8" minor wear to paint on rim of plaque on both sides and top. No damage.

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c1870 Powell Bishop Staffordshire ABC Plate. No cracks, chips, or restorations, some stains as shown. 6 1/8"TW252

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c1870 Staffordshire Romantic Group in Large Size 13 5/8" tall x 9" wide with no cracks, chips, or restorations. TW6

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c1870's Saloon Back Bar Liquor Bottles with Etched Gilt Advertising San<br>Francisco Nestor Maryland Rye Gibson's Whiskey Pennsylvania<br>The Nestor Maryland Rye bottle was actually from a distillery named KOPPEL &<br>DWAN that operated in San Francisco, CA 1877-1878, it's extremely rare blown<br>bottle, it's not etched just gold gilding. They're both rare. Largest is 9 1/8",<br>other is 6.75". The Gibson's bottle is engraved with gilding in the engraving.<br>The facets are polished and it has a ground pontil. Originally, Gibson was a<br>producer of American, not Canadian, rye. John Gibson was a western Pennsylvania<br>distiller who started up in the 1830s, and by 1856, according to Canadian whisky<br>guru Davin de Kergommeaux, his operation spanned 40 acres alongside the<br>Monongahela. Once Prohibition rolled around, though, the distillery shut down<br>and was demolished. A New York company called Schenley Industries bought the<br>rights to the Gibson’s name and held onto them until 1972, when Schenley started<br>using it for Canadian whisky produced at a distillery it owned in Valleyfield,<br>Quebec.<br>No cracks or chips, or excessive wear to the bottles. They both have minor<br>mineral deposits in the bottom that I didn't attempt to clean.<br>I May split these up if you care to make a reasonable offer.<br>B22

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c1870's Stevengraph Pure Silk Woven Picture of Royal Mail coach to/from the Black swan. Good condition for 140-150 years old with minor stains and obvious reframing in a quality 20th century frame. The Fascinating World of Stevengraphs. By Bill Poese. THE FASCINATING silk pictures that we know today as Stevengraphs actually had their origin in a depression in England's far flung textile industry, and Richard Cobden, a 19th century English economist and statesman, may claim some of the credit. In 1860, the so-called Cobden Treaty, a free-trade treaty negotiated by Cobden and removing England's protective tariff on silks, brocades and ribbons, among other things, took effect. Its impact upon Coventry, where English ribbon weaving had been concentrated for 150 years, was devastating. Forty five per cent of Coventry's population earned their livelihood from ribbon weaving. Looms were destroyed, and during a two-year period 9,000 persons emigrated to foreign countries in search of employment. But there was one man who was resourceful enough to overcome the blow sufficiently to provide for his own family, the weavers in his employ, and, in a small way, to bolster the economy of Coventry. This man was Thomas Stevens, born in 1828 in the outlying district of Foleshill. As a boy, Thomas Stevens had learned the ribbon weaver's trade at the firm of Pears and Franklin in Upper Well Street, Coventry, and in 1854 he set up his own business in Queen Street. He had learned all the aspects of his trade well and the jacquard loom was of particular interest to him. This loom was a French invention of about 1790 of Joseph Jacquard that had been introduced into England in 1820, and its excellence was recognized quickly, so that by 1838 as many as 2,200 jacquard looms were thumping in Coventry. The principle of the jacquard loom is based upon the fact that mechanically-operated devices controlled loops and pulleys to weave patterns in textiles. Thomas Stevens improved, adapted, and refined the loom by a series of inventions so that he could produce silk pieces that have exquisite detail with what seems to be a three-dimensional effect. He produced pictures, musical notes, lettering and portraits of amazing beauty. The first step in producing Stevengraph works was an artist's drawing on squared paper. These designs were originals, copies of portraits, copies of prints, and often of texts in the manner of illuminated manuscripts. The Victorian love of covering the entire surface of the piece is often in evidence in these pieces. The squared paper pictures look like designs for cross-stitch embroidery work. Large cards were made that carried out the artist's picture and a separate card was made and per- forated for each color in every single woven line of the picture. The cards were put into an endless chain arrangement and placed in the Jacquard loom to regulate the operation of the warp threads. Every time the shuttle carrying the weft was placed across the loom, a different card calling for a variation in the warp threads and consequently in the pattern was brought into use. Many pieces used ten to 12 colors. After the entire pattern was completed, a space was provided and the pattern began to repeat itself. In this way, the weaver produced spools of beautifully woven picture ribbons that were later cut apart at the separating areas. Because of the work involved in placing the cards in the loom, many picture ribbons were woven before a change was made and a different set of cards was used. One 13-inch-long bookmarker that Stevens produced required 5,500 perforated cards. Thomas Stevens was not the only Coventry weaver who was able to survive the depression by weaving pictorial ribbons nor was he the first to produce pictures on the Jacquard loom. As early as 1801 in Lyons, black-and-white portraits had amazed people. In 1855, James Hart wove silk pictures depicting Queen Victoria and Napoleon 111, and in 1858 John Caldicott wove a ribbon with a portrait of Edward Ellice, who was the Member of Parliament from Coventry. But the best known of the jacquard picture weavers was Thomas Stevens. It is he who stands out above the others and it is he who invented the term "Stevengraph." By 1862, Stevens had produced nine bookmarkers of different designs. During 1862 he registered four new patterns: "Unchanging Love," "I wish you a Merry Christmas," "Thanksgiving," and "Thy Bridal Day." During this same year he pro- duced a few larger pieces that were desirable for framing, but he evidently changed his mind about the pictures because he produced no more of them during the next 16 years, confining himself, instead, to producing his popular bookmarkers. Just who made the first Stevengraph-type bookmarker is a matter of considerable dispute and the contenders for the honor are John Caldicott, John Ratliff, and perhaps Thomas Stevens. Among Stevens's contemporaries who did the same sort of jacquard picture weaving were, in addition to those just named, the brothers John and Joseph Cash, and Dalton and Barton. In 1863, the royal marriage of the Prince and Princess of Wales, and in 1864, the tercentenary of Shakespeare's birth gave the weavers ample subject matter to satisfy the demands of a souvenir-hungry nation. Strangely enough, at this time Stevens's competition dropped out of the race and left him a clear field for a period of time to produce his bookmarkers and allied items. By the late 1880s he had produced more than 900 items and among them are sachets, birthday verses, Christmas and New Year greetings, calendars, fans, valentines, ladies' neckties and sashes, emblematic sashes for fraternal orders, pictures suitable for framing, and of course, the always popular bookmarkers, many with tassel-tipped ends. They vary in size from 1 1/4 by 4 inches to 7 1/2 by 13 inches for the mounted pictures and his various items sold for as low as 5 cents, to as much as $14 for a sash. Stevengraphs were given as premiums to people who subscribed to The Ladies Floral Cabinet in 1877. Competition developed in the 1870s by Bolland and Welch and Lenton, who copied his bookmarkers, and in the 1880s by W. H. Grant, who imitated his mounted pictures. Stevens became the father or seven children. In 1878 he moved to London to supervise his expanding business. By this time he had sales agencies in New York City, Cincinnati, Leipzig, Glasgow, Dublin, and Londonderry, in addition to London. To stimulate sales at the expositions that were popular during the period of his greatest activity he sent weavers with his version of the jacquard loom to many of them. There, people could watch a piece being woven, buy it and take it home as a souvenir of the fair. Among the places he or his sons did this were the Philadelphia Centennial Exposition, 1876; York Exposition, 1879; Edinburgh, 1886; Manchester, 1887; Cincinnati 1888; London, 1890; Chicago, 1893; St. Louis, 1904; and Paris, Antwerp, Liverpool, Bristol, Boston, Brussels, and Paris. After winning more than 30 medals and diplomas, Thomas Stevens died on October 24, 1888, in London and was buried in the family plot in Coventry. Two of his sons, Thomas and Inger, who, before his death managed the Coventry plant, con- tinued the business. Thomas Stevens had established pleasant working conditions in an industry that was noted for poor conditions. His plant had adequate lighting, ventilation, a pleasant dining area, and it was sanitary. The heavy German ings of Coventry in 1940 leveled his buildings and his business, but he lives on in the appreciation of hundreds of antique collectors who specialize in Stevengraphs, including 175 active members of the Stevengraph Collectors' Association with its headquarters at Irvington-on-Hudson, N.Y., and members in England, Canada, Scotland, Austrialia, South Africa, and New Zealand as well as the United States. The highest price paid at auction for a Stevengraph was $1,560 in April, 1972, in London. The article was a mint example of L' Immaculee Conception and is extremely rare. Many examples of Stevens's work, however, are offered for modest prices that are within the price range of many collectors. Individuals are concerned with authenticating items in their collections as being made by Stevens and also with dating them. Both of these matters present difficulties. A pattern could be set up on the cards in 1865, and many times years later the same cards could be used again to produce identical items. There was no limited edition with the mold or etching plate being destroyed. Certain items can be dated by the events they portray and the dates they bear as the one for the Philadelphia Centennial Exposition of 1876. Some can be dated by the number of awards that are noted on the paper backing on some pieces. Many, of course, are signed in the weaving. A diamond-shaped registry mark like that on pottery dates many since this device was used from 1842 to 1883. Thomas Stevens was a businessman who produced a salable luxury or souvenir product. If the subject matter was attractive and the sentiment appealed, people would buy them for themselves or as a little gift for a friend. As a result, he and his successors' designs reflect Victorian tastes that were, in many cases, universal tastes at the time. Among the portraits are those of Queen Victoria, Shakespeare, King Edward VII, John L. Sullivan, Robert Burns, "Buffalo Bill" Cody, Prince Otto von Bismark, and President and Mrs. Cleveland. Under the general heading of views we find many English castles such as Balmoral, Kenilworth, Warwick, and Windsor. Other views include the Crystal Palace, Houses of Parliament, Tower of London and the Tower Bridge, and the Centennial Exposition of Ohio Valley and Central States, Cincinnati, 1888. Historical pictures include Columbus Leaving Spain, Landing of Columbus, Declaration of Independence, and the Death of Nelson. Classical and legendary subject matter can be found in those weavings that depict Peeping Tom, Leda, The Lady Godiva Procession, and Bath of Psyche. Certain items display the sentimentality of Victorians as God Speed the Plough, Good Old Days, Called to the Rescue, Grace Darling, and For Life or Death. Many battleships and trains are pictured and so are many sporting events. Among the latter are depictions of Spanish bull, horse racing, fox , cricket, bicycle racing, tennis, and baseball. Thomas Stevens was a highly skilled master of a delicate craft that resulted in articles that will be held in high esteem as long as their silken fibers hold together. Tw61

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c1870's Stevengraph Pure Silk Woven Picture of Steam Fire Engine and Firemen "For Life or Death". 9.75" x 7" total including frame. Overall good condition for 140-150 years old with minor stains and some wear to frame as shown. The Fascinating World of Stevengraphs. By Bill Poese. THE FASCINATING silk pictures that we know today as Stevengraphs actually had their origin in a depression in England's far flung textile industry, and Richard Cobden, a 19th century English economist and statesman, may claim some of the credit. In 1860, the so-called Cobden Treaty, a free-trade treaty negotiated by Cobden and removing England's protective tariff on silks, brocades and ribbons, among other things, took effect. Its impact upon Coventry, where English ribbon weaving had been concentrated for 150 years, was devastating. Forty five per cent of Coventry's population earned their livelihood from ribbon weaving. Looms were destroyed, and during a two-year period 9,000 persons emigrated to foreign countries in search of employment. But there was one man who was resourceful enough to overcome the blow sufficiently to provide for his own family, the weavers in his employ, and, in a small way, to bolster the economy of Coventry. This man was Thomas Stevens, born in 1828 in the outlying district of Foleshill. As a boy, Thomas Stevens had learned the ribbon weaver's trade at the firm of Pears and Franklin in Upper Well Street, Coventry, and in 1854 he set up his own business in Queen Street. He had learned all the aspects of his trade well and the jacquard loom was of particular interest to him. This loom was a French invention of about 1790 of Joseph Jacquard that had been introduced into England in 1820, and its excellence was recognized quickly, so that by 1838 as many as 2,200 jacquard looms were thumping in Coventry. The principle of the jacquard loom is based upon the fact that mechanically-operated devices controlled loops and pulleys to weave patterns in textiles. Thomas Stevens improved, adapted, and refined the loom by a series of inventions so that he could produce silk pieces that have exquisite detail with what seems to be a three-dimensional effect. He produced pictures, musical notes, lettering and portraits of amazing beauty. The first step in producing Stevengraph works was an artist's drawing on squared paper. These designs were originals, copies of portraits, copies of prints, and often of texts in the manner of illuminated manuscripts. The Victorian love of covering the entire surface of the piece is often in evidence in these pieces. The squared paper pictures look like designs for cross-stitch embroidery work. Large cards were made that carried out the artist's picture and a separate card was made and per- forated for each color in every single woven line of the picture. The cards were put into an endless chain arrangement and placed in the Jacquard loom to regulate the operation of the warp threads. Every time the shuttle carrying the weft was placed across the loom, a different card calling for a variation in the warp threads and consequently in the pattern was brought into use. Many pieces used ten to 12 colors. After the entire pattern was completed, a space was provided and the pattern began to repeat itself. In this way, the weaver produced spools of beautifully woven picture ribbons that were later cut apart at the separating areas. Because of the work involved in placing the cards in the loom, many picture ribbons were woven before a change was made and a different set of cards was used. One 13-inch-long bookmarker that Stevens produced required 5,500 perforated cards. Thomas Stevens was not the only Coventry weaver who was able to survive the depression by weaving pictorial ribbons nor was he the first to produce pictures on the Jacquard loom. As early as 1801 in Lyons, black-and-white portraits had amazed people. In 1855, James Hart wove silk pictures depicting Queen Victoria and Napoleon 111, and in 1858 John Caldicott wove a ribbon with a portrait of Edward Ellice, who was the Member of Parliament from Coventry. But the best known of the jacquard picture weavers was Thomas Stevens. It is he who stands out above the others and it is he who invented the term "Stevengraph." By 1862, Stevens had produced nine bookmarkers of different designs. During 1862 he registered four new patterns: "Unchanging Love," "I wish you a Merry Christmas," "Thanksgiving," and "Thy Bridal Day." During this same year he pro- duced a few larger pieces that were desirable for framing, but he evidently changed his mind about the pictures because he produced no more of them during the next 16 years, confining himself, instead, to producing his popular bookmarkers. Just who made the first Stevengraph-type bookmarker is a matter of considerable dispute and the contenders for the honor are John Caldicott, John Ratliff, and perhaps Thomas Stevens. Among Stevens's contemporaries who did the same sort of jacquard picture weaving were, in addition to those just named, the brothers John and Joseph Cash, and Dalton and Barton. In 1863, the royal marriage of the Prince and Princess of Wales, and in 1864, the tercentenary of Shakespeare's birth gave the weavers ample subject matter to satisfy the demands of a souvenir-hungry nation. Strangely enough, at this time Stevens's competition dropped out of the race and left him a clear field for a period of time to produce his bookmarkers and allied items. By the late 1880s he had produced more than 900 items and among them are sachets, birthday verses, Christmas and New Year greetings, calendars, fans, valentines, ladies' neckties and sashes, emblematic sashes for fraternal orders, pictures suitable for framing, and of course, the always popular bookmarkers, many with tassel-tipped ends. They vary in size from 1 1/4 by 4 inches to 7 1/2 by 13 inches for the mounted pictures and his various items sold for as low as 5 cents, to as much as $14 for a sash. Stevengraphs were given as premiums to people who subscribed to The Ladies Floral Cabinet in 1877. Competition developed in the 1870s by Bolland and Welch and Lenton, who copied his bookmarkers, and in the 1880s by W. H. Grant, who imitated his mounted pictures. Stevens became the father or seven children. In 1878 he moved to London to supervise his expanding business. By this time he had sales agencies in New York City, Cincinnati, Leipzig, Glasgow, Dublin, and Londonderry, in addition to London. To stimulate sales at the expositions that were popular during the period of his greatest activity he sent weavers with his version of the jacquard loom to many of them. There, people could watch a piece being woven, buy it and take it home as a souvenir of the fair. Among the places he or his sons did this were the Philadelphia Centennial Exposition, 1876; York Exposition, 1879; Edinburgh, 1886; Manchester, 1887; Cincinnati 1888; London, 1890; Chicago, 1893; St. Louis, 1904; and Paris, Antwerp, Liverpool, Bristol, Boston, Brussels, and Paris. After winning more than 30 medals and diplomas, Thomas Stevens died on October 24, 1888, in London and was buried in the family plot in Coventry. Two of his sons, Thomas and Inger, who, before his death managed the Coventry plant, con- tinued the business. Thomas Stevens had established pleasant working conditions in an industry that was noted for poor conditions. His plant had adequate lighting, ventilation, a pleasant dining area, and it was sanitary. The heavy German ings of Coventry in 1940 leveled his buildings and his business, but he lives on in the appreciation of hundreds of antique collectors who specialize in Stevengraphs, including 175 active members of the Stevengraph Collectors' Association with its headquarters at Irvington-on-Hudson, N.Y., and members in England, Canada, Scotland, Austrialia, South Africa, and New Zealand as well as the United States. The highest price paid at auction for a Stevengraph was $1,560 in April, 1972, in London. The article was a mint example of L' Immaculee Conception and is extremely rare. Many examples of Stevens's work, however, are offered for modest prices that are within the price range of many collectors. Individuals are concerned with authenticating items in their collections as being made by Stevens and also with dating them. Both of these matters present difficulties. A pattern could be set up on the cards in 1865, and many times years later the same cards could be used again to produce identical items. There was no limited edition with the mold or etching plate being destroyed. Certain items can be dated by the events they portray and the dates they bear as the one for the Philadelphia Centennial Exposition of 1876. Some can be dated by the number of awards that are noted on the paper backing on some pieces. Many, of course, are signed in the weaving. A diamond-shaped registry mark like that on pottery dates many since this device was used from 1842 to 1883. Thomas Stevens was a businessman who produced a salable luxury or souvenir product. If the subject matter was attractive and the sentiment appealed, people would buy them for themselves or as a little gift for a friend. As a result, he and his successors' designs reflect Victorian tastes that were, in many cases, universal tastes at the time. Among the portraits are those of Queen Victoria, Shakespeare, King Edward VII, John L. Sullivan, Robert Burns, "Buffalo Bill" Cody, Prince Otto von Bismark, and President and Mrs. Cleveland. Under the general heading of views we find many English castles such as Balmoral, Kenilworth, Warwick, and Windsor. Other views include the Crystal Palace, Houses of Parliament, Tower of London and the Tower Bridge, and the Centennial Exposition of Ohio Valley and Central States, Cincinnati, 1888. Historical pictures include Columbus Leaving Spain, Landing of Columbus, Declaration of Independence, and the Death of Nelson. Classical and legendary subject matter can be found in those weavings that depict Peeping Tom, Leda, The Lady Godiva Procession, and Bath of Psyche. Certain items display the sentimentality of Victorians as God Speed the Plough, Good Old Days, Called to the Rescue, Grace Darling, and For Life or Death. Many battleships and trains are pictured and so are many sporting events. Among the latter are depictions of Spanish bull, horse racing, fox , cricket, bicycle racing, tennis, and baseball. Thomas Stevens was a highly skilled master of a delicate craft that resulted in articles that will be held in high esteem as long as their silken fibers hold together. Tw61

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c1870's Stevengraph Pure Silk Woven Picture of Steam Locomotive "The first train ran on Sept 27th 1825 from Stockton to Darlington" Good condition for 140-150 years old with minor stains and obvious reframing in a quality 20th century frame. The Fascinating World of Stevengraphs. By Bill Poese. THE FASCINATING silk pictures that we know today as Stevengraphs actually had their origin in a depression in England's far flung textile industry, and Richard Cobden, a 19th century English economist and statesman, may claim some of the credit. In 1860, the so-called Cobden Treaty, a free-trade treaty negotiated by Cobden and removing England's protective tariff on silks, brocades and ribbons, among other things, took effect. Its impact upon Coventry, where English ribbon weaving had been concentrated for 150 years, was devastating. Forty five per cent of Coventry's population earned their livelihood from ribbon weaving. Looms were destroyed, and during a two-year period 9,000 persons emigrated to foreign countries in search of employment. But there was one man who was resourceful enough to overcome the blow sufficiently to provide for his own family, the weavers in his employ, and, in a small way, to bolster the economy of Coventry. This man was Thomas Stevens, born in 1828 in the outlying district of Foleshill. As a boy, Thomas Stevens had learned the ribbon weaver's trade at the firm of Pears and Franklin in Upper Well Street, Coventry, and in 1854 he set up his own business in Queen Street. He had learned all the aspects of his trade well and the jacquard loom was of particular interest to him. This loom was a French invention of about 1790 of Joseph Jacquard that had been introduced into England in 1820, and its excellence was recognized quickly, so that by 1838 as many as 2,200 jacquard looms were thumping in Coventry. The principle of the jacquard loom is based upon the fact that mechanically-operated devices controlled loops and pulleys to weave patterns in textiles. Thomas Stevens improved, adapted, and refined the loom by a series of inventions so that he could produce silk pieces that have exquisite detail with what seems to be a three-dimensional effect. He produced pictures, musical notes, lettering and portraits of amazing beauty. The first step in producing Stevengraph works was an artist's drawing on squared paper. These designs were originals, copies of portraits, copies of prints, and often of texts in the manner of illuminated manuscripts. The Victorian love of covering the entire surface of the piece is often in evidence in these pieces. The squared paper pictures look like designs for cross-stitch embroidery work. Large cards were made that carried out the artist's picture and a separate card was made and per- forated for each color in every single woven line of the picture. The cards were put into an endless chain arrangement and placed in the Jacquard loom to regulate the operation of the warp threads. Every time the shuttle carrying the weft was placed across the loom, a different card calling for a variation in the warp threads and consequently in the pattern was brought into use. Many pieces used ten to 12 colors. After the entire pattern was completed, a space was provided and the pattern began to repeat itself. In this way, the weaver produced spools of beautifully woven picture ribbons that were later cut apart at the separating areas. Because of the work involved in placing the cards in the loom, many picture ribbons were woven before a change was made and a different set of cards was used. One 13-inch-long bookmarker that Stevens produced required 5,500 perforated cards. Thomas Stevens was not the only Coventry weaver who was able to survive the depression by weaving pictorial ribbons nor was he the first to produce pictures on the Jacquard loom. As early as 1801 in Lyons, black-and-white portraits had amazed people. In 1855, James Hart wove silk pictures depicting Queen Victoria and Napoleon 111, and in 1858 John Caldicott wove a ribbon with a portrait of Edward Ellice, who was the Member of Parliament from Coventry. But the best known of the jacquard picture weavers was Thomas Stevens. It is he who stands out above the others and it is he who invented the term "Stevengraph." By 1862, Stevens had produced nine bookmarkers of different designs. During 1862 he registered four new patterns: "Unchanging Love," "I wish you a Merry Christmas," "Thanksgiving," and "Thy Bridal Day." During this same year he pro- duced a few larger pieces that were desirable for framing, but he evidently changed his mind about the pictures because he produced no more of them during the next 16 years, confining himself, instead, to producing his popular bookmarkers. Just who made the first Stevengraph-type bookmarker is a matter of considerable dispute and the contenders for the honor are John Caldicott, John Ratliff, and perhaps Thomas Stevens. Among Stevens's contemporaries who did the same sort of jacquard picture weaving were, in addition to those just named, the brothers John and Joseph Cash, and Dalton and Barton. In 1863, the royal marriage of the Prince and Princess of Wales, and in 1864, the tercentenary of Shakespeare's birth gave the weavers ample subject matter to satisfy the demands of a souvenir-hungry nation. Strangely enough, at this time Stevens's competition dropped out of the race and left him a clear field for a period of time to produce his bookmarkers and allied items. By the late 1880s he had produced more than 900 items and among them are sachets, birthday verses, Christmas and New Year greetings, calendars, fans, valentines, ladies' neckties and sashes, emblematic sashes for fraternal orders, pictures suitable for framing, and of course, the always popular bookmarkers, many with tassel-tipped ends. They vary in size from 1 1/4 by 4 inches to 7 1/2 by 13 inches for the mounted pictures and his various items sold for as low as 5 cents, to as much as $14 for a sash. Stevengraphs were given as premiums to people who subscribed to The Ladies Floral Cabinet in 1877. Competition developed in the 1870s by Bolland and Welch and Lenton, who copied his bookmarkers, and in the 1880s by W. H. Grant, who imitated his mounted pictures. Stevens became the father or seven children. In 1878 he moved to London to supervise his expanding business. By this time he had sales agencies in New York City, Cincinnati, Leipzig, Glasgow, Dublin, and Londonderry, in addition to London. To stimulate sales at the expositions that were popular during the period of his greatest activity he sent weavers with his version of the jacquard loom to many of them. There, people could watch a piece being woven, buy it and take it home as a souvenir of the fair. Among the places he or his sons did this were the Philadelphia Centennial Exposition, 1876; York Exposition, 1879; Edinburgh, 1886; Manchester, 1887; Cincinnati 1888; London, 1890; Chicago, 1893; St. Louis, 1904; and Paris, Antwerp, Liverpool, Bristol, Boston, Brussels, and Paris. After winning more than 30 medals and diplomas, Thomas Stevens died on October 24, 1888, in London and was buried in the family plot in Coventry. Two of his sons, Thomas and Inger, who, before his death managed the Coventry plant, con- tinued the business. Thomas Stevens had established pleasant working conditions in an industry that was noted for poor conditions. His plant had adequate lighting, ventilation, a pleasant dining area, and it was sanitary. The heavy German ings of Coventry in 1940 leveled his buildings and his business, but he lives on in the appreciation of hundreds of antique collectors who specialize in Stevengraphs, including 175 active members of the Stevengraph Collectors' Association with its headquarters at Irvington-on-Hudson, N.Y., and members in England, Canada, Scotland, Austrialia, South Africa, and New Zealand as well as the United States. The highest price paid at auction for a Stevengraph was $1,560 in April, 1972, in London. The article was a mint example of L' Immaculee Conception and is extremely rare. Many examples of Stevens's work, however, are offered for modest prices that are within the price range of many collectors. Individuals are concerned with authenticating items in their collections as being made by Stevens and also with dating them. Both of these matters present difficulties. A pattern could be set up on the cards in 1865, and many times years later the same cards could be used again to produce identical items. There was no limited edition with the mold or etching plate being destroyed. Certain items can be dated by the events they portray and the dates they bear as the one for the Philadelphia Centennial Exposition of 1876. Some can be dated by the number of awards that are noted on the paper backing on some pieces. Many, of course, are signed in the weaving. A diamond-shaped registry mark like that on pottery dates many since this device was used from 1842 to 1883. Thomas Stevens was a businessman who produced a salable luxury or souvenir product. If the subject matter was attractive and the sentiment appealed, people would buy them for themselves or as a little gift for a friend. As a result, he and his successors' designs reflect Victorian tastes that were, in many cases, universal tastes at the time. Among the portraits are those of Queen Victoria, Shakespeare, King Edward VII, John L. Sullivan, Robert Burns, "Buffalo Bill" Cody, Prince Otto von Bismark, and President and Mrs. Cleveland. Under the general heading of views we find many English castles such as Balmoral, Kenilworth, Warwick, and Windsor. Other views include the Crystal Palace, Houses of Parliament, Tower of London and the Tower Bridge, and the Centennial Exposition of Ohio Valley and Central States, Cincinnati, 1888. Historical pictures include Columbus Leaving Spain, Landing of Columbus, Declaration of Independence, and the Death of Nelson. Classical and legendary subject matter can be found in those weavings that depict Peeping Tom, Leda, The Lady Godiva Procession, and Bath of Psyche. Certain items display the sentimentality of Victorians as God Speed the Plough, Good Old Days, Called to the Rescue, Grace Darling, and For Life or Death. Many battleships and trains are pictured and so are many sporting events. Among the latter are depictions of Spanish bull, horse racing, fox , cricket, bicycle racing, tennis, and baseball. Thomas Stevens was a highly skilled master of a delicate craft that resulted in articles that will be held in high esteem as long as their silken fibers hold together. Tw61

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c1875 English Sterling Grape shears. 6 7/8" long 108.3 grams, solid and sharp with no issues.Grape shears and grape scissors are an instrument specifically designed for cutting grape stalks, and are smaller and designed especially for the purpose. Grape shears were invented in the 19th century, and the earliest examples were from the Regency period, although very few have survived and these early examples are extraordinarily rare now.These shears or scissors are about 6 to 7 inches (15 to 18 cm) long. The handles are much longer than the blades, so that you can insert the blades deeply into a cluster of grapes. Most of the scissor ends of these pieces of antique silver have blunt tips, so that they won’t puncture the fruit. The grape shears would sometimes be found as part of a set with a grapestand, and the earlier grape shears from the late Georgian period were more like scissors, with equally long blades and handles. These were often gold-gilt, demonstrating the high value that the grape shears had been imbued with as an item of cutlery, and as part of a dinner service. Later though, grape shears were usually made of sterling silver, as with most high quality dinnerware, so as to avoid tarnishing and to stand the test of time. After the 1850s, most of the shears produced included a flange which had been added to one of the blades, so that once the grapes had been cut, they could then be elegantly placed on to the diner’s plate while still holding the shears. The decoration on the shears varied widely, at first the shears often displayed a grape and vine motif, however many grape shears were part of a much larger dining set, so they would be embellished with the same pattern that was on the other cutlery. Because so many pieces of various shapes and sizes had to incorporate the same design, these were often more simple than the decoration on single items. silverdrawer

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c1877 Engraved Snuff Box with inscription. Hand engraved Silver plate<br>snuff/tobacco box 3 1/8" x 2" x 1". I believe this is silver plated nickel as<br>silver prices were crazy in the 1870's, they were basically the same price as<br>they were in the 1970's.<br>isshelf

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c1880 13.5" Meiji period Japanese Imari charger. Great antique charger well over 100 years old. No chips or restorations. Two tight hairlines that aren't noticeable without very close examination. Shown in last pic. TW184

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c1880 15 5/8" Japanese Imari Charger with nice Hand Painted decoration. No cracks, chips, restorations, or crazing. Nicely painted typical wear to gilding on rim. tw194

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c1880 14k Gold/Gem grade Coral Cabochon Stickpin. 3" long with 14.5mm gem grade coral cabochon. 4.1 grams. Unmarked but tested 14k gold.

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Meiji Period Japanese c1880 2 Japanese Blue/white Porcelain Chargers Hand Painted 10.75" & 11.25". No damage or restorations to either one.

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c1880 3 Cut Glass Perfume Bottles 2 with Sterling lids, one large flask. Selling the three in great condition. The one on the left is 4 1/8" tall with some roughness on the top rim but no other chips or cracks, one in center is 6.25" tall with no chips or cracks, I believe it's the only one I would trust to hold liquid without evaporation or spillage. The lid is not sterling on the center one but is on the other two. The one on the right has two small insignificant chips, no cracks, 3.75" tall, the threads on the lid don't quite match the base, looks great but the lid won't be tight. tw190

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c1880 A. Jacobi Baltimore Sterling Repousse Chatelaine purse. Very nice functional bag about 135 years old. Very high quality functional hinge and closure. Thick heavy sterling with no issues. 6" wide at top of frame x 8.25" tall without the chain. 194.3 grams total weight with 98% of that being the silver top.A.JACOBI & CO JACOBI & JENKINS JENKINS & JENKINS - Baltimore, MD founded in 1879 as A.Jacobi. Succeeded by A.Jacobi & Co (1890), Jacobi & Jenkins (1894) and Jenkins & Jenkins (1908). Sold to the Heer-Schofield Company (Schofield Company Inc) in 1915 tw187

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c1880 American Sterling Silver Fish Serving set by R Harris & Co Washington D.C<br>Estabished in 1876 as manufacturing jeweler and silversmith. The firm offered a<br>variety of solid silver novelty items and gold jewelry. All hand engraved heavy<br>Victorian sterling silver set with no bends or deep scratches. I'm not good at<br>photographing silver, especially large pieces such as these. 215 grams, the<br>serving knife is 12 3/8" long and fork is 7.75" long.<br>tw167

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c1880 Antique Back Bar Bottle Apricot Cordial Mold Blown Tooled lip. 12" tall x<br>3.25" wide at base with no damage, Mold blown bottle with hand tooled lip and<br>hand enameled "Apricot Cordial".<br>isshelf

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Nice antique rose medallion teapot. Less common fluted design with original<br>fluted lid. There is an underglaze pre firing chip on the spout that was there<br>when it was made, another light glaze skip under the spout that I also believe<br>to be original to the manufacture of the piece. 7.25" tall and 7.25" handle to<br>spout.<br>TW57

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c1880 Antique Chinese Famille Rose Wine Pot or Teapot. Guaranteed Chinese from<br>the last half of the 19th century, unmarked. Amazingly has the original lid (<br>The lid has some restoration on the rim and a missing piece that goes down in<br>the pot. No cracks, chips, or restorations on the base. 7" tall, rare piece of<br>Chinese export porcelain.<br>TW251

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c1880 Antique Chinese Opium Scales. Very cool set with an incredible patina. Case measures 13.75" long x 3.5" wide no issues or damage. Difficult to find with the counterweight and leather that keeps it together intact. Lots of writing Front, back, and inside brass plate, nicely carved also.isshelf

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c1880 Antique Chinese Opium Scales in poppy form case. Very cool set with an<br>incredible patina. Case measures 6" long x 3.75" wide. No issues or damage,<br>strings still intact, very well preserved.<br><br>b7

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c1880 Antique French Parisian porcelain Parasol handle. Very big and wonderful 9<br>1/8" long with minimal wear to gilding. No cracks or chips. This was top notch<br>in it's time, way past that now.<br>kitshelf

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c1880 Antique French/Dresden Porcelain Cane handle collection. Selling the 5<br>victorian hand painted cane handles shown all with no damage or significant<br>wear. Tallest monkey 3.5", longest the blue portrait is 4.25". All victorian,<br>all 100% hand painted. Selling the collection.<br>trinketdrawer

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c1880 Antique Miniature Hand Painted porcelain plaque brooch 1 7/8" tall x 2.25" wide, plaque in good condition with minor wear to plaque.

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c1880 Antique Moser Portrait Urns Pair. Selling both Urns bohemian, 19th<br>century, hand painted, likely Moser. One has a brace where the top and bottome<br>meet and one doesn't. I have no way of knowing if this is how they were<br>originally produced or not. The one without the brace is strong and stable with<br>no play. There is slight play in the one with with brace and a few small chips<br>where the two pieces meet. They are both fine and display very well, stable, but<br>extra care needs to be taken when packing and handling which is what I do and<br>will do. Selling both 14" tall x 5.5" wide minor wear to gilding, mainly on<br>bases as shown. No chips, cracks, or restorations other than what was mentioned.

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c1880 Antique Pietra Dura Bronze Mounted Double Locket Picture frame on Easel.<br>13.5" tall x 6 5/8" high total with Easel, The sight area inside the picture<br>frames is 5 3/8' x 3 3/8" The pietra dura plaque without the easel is 8" x 5"<br>counting the bronze ormula on top. This is a really special and over the top<br>piece that required immense skill to make. The bronze frame is heavy so when it<br>is opened it will tip easily when the back leg is fully extended so it will need<br>to be on a not so slick surface if you intent to display it open with the photos<br>showing rather than with the incredible Pietra Dura plaque showing. No<br>detectable issues, some expected wear to the gold gilding on the bronze.<br>TW126<br><br><br>Pietra dura (Italian: [ˈpjɛːtra ˈduːra]) or pietre dure [ˈpjɛːtre ˈduːre] (see<br>below), called parchin kari or parchinkari (Persian: پرچین کاری‎) in the Indian<br>Subcontinent, is a term for the inlay technique of using cut and fitted, highly<br>polished colored stones to create images. It is considered a decorative art. The<br>stonework, after the work is assembled loosely, is glued stone-by-stone to a<br>substrate after having previously been "sliced and cut in different shape<br>sections; and then assembled together so precisely that the contact between each<br>section was practically invisible". Stability was achieved by grooving the<br>undersides of the stones so that they interlocked, rather like a jigsaw puzzle,<br>with everything held tautly in place by an encircling 'frame'. Many different<br>colored stones, particularly marbles, were used, along with semiprecious, and<br>even precious stones. It first appeared in Rome in the 16th century, reaching<br>its full maturity in Florence. Pietra dura items are generally crafted on green,<br>white or black marble base stones. Typically, the resulting panel is completely<br>flat, but some examples where the image is in low relief were made, taking the<br>work more into the area of hardstone carving.

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C1880 Antique Porcelain Oyster plates, largest 9 1/8" wide. Both with no cracks,<br>chips, or restorations. Both guaranteed late 19th century French or German<br>porcelain, unmarked.

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c1880 Austrian Hand Painted and Gilt multicolor Pitcher. Unusual decoration on<br>this piece. No cracks, chips, or restorations. Very minor wear in a few spots to<br>painting and some wear to gilding as shown.<br>Tw117

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c1880 Austro-Hungarian 800 Niello Silver Cheroot Case Snuff box. 4" x 2 3/8" x 1" x 131 grams. Heavy solid box with no dents or bends, functional hinge and claps, snaps shut and stays sealed until button is pressed. Functions as intended 140 years ago. Hallmarks on interior of Lid and base. TW255

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c1880 Bohemian black glass Hand Enameled Butterflies Electrified Oil lamp with<br>original frosted glass shade, on circular foot, approx 25"h, 6"diam, 6lbs.<br>Incredible lamp, three pieces with no chips, cracks, or restorations, tiny<br>flakes on base of shade that goes in fitter as expected. Lamp is in working<br>condition with functional in cord switch.

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c1880 Bohemian Lobmeyr Cranberry open salt dip. 3.25" x 1 1/8" tall, a large<br>salt dip or trinket dish. Two feet with very small chips that could easily be<br>ground down if they were somehow a distraction, no other chips, cracks, or<br>significant wear. That isn't a chip on the top of the first pic or gold wear,<br>it's a shadow from the plate holder.<br><br>isshelf

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c1880 Brass/Bronze Reticulated compote with Cherub Heads. Great piece guaranteed mid to late 19th century. The alloy seems a little more bronze than brass. Whatever it is, it's a fine piece. 10.25" wide x 4.5" tall.

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c1880 Carved Mother of Pearl Wallet. Great piece from the last half of the 19th century with no damage to the mother of pearl. The silk liner is a little rough as shown. Hand Carved mother of pearl depicting a father and daughter. TW219

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c1880 Cobalt Flashed Cut to clear inkwell. Nice rare cobalt cut overlay glass inkwell with original dome. Small nick on bottom of dome that could easily grind out, rea3"lly small. No other cracks, chips, or restorations. 3" ttall x 2.25" wide. TW156

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c1880 Cranberry Enameled Oil Lamp Base. 11" tall x 5.5" wide with no cracks,<br>chips, or restorations. The hole in the base is an open pontil from<br>manufacturing it hasn't been drilled. The top part was blown separately and has<br>no hole, it will hold oil if you wish to put a burner on it and use it as an oil<br>lamp. I probably have a burner if that's an issue to help make the sale so feel<br>free to ask. When I got it the old burner was disentigrated and broken so I<br>discarded it.<br>TW124

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c1880 Crown Derby Kings Imari Cranberry bowl/Open sugar. 4 7/8" wide x 2 13/16" tall. Seems more the size or a waste or cranberry bowl to me than an open sugar. Tough to tell as measurements and shapes changed over time. Very clean with no cracks, chips, restorations, or crazing, and very clean gold. TW217

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c1880 Dresden Figure Group Children with Lamb and Birdcage. 6.5" wide x 5" tall. One tiny flake off the green leaves to the flowers in his upper hand, pin head sized. No other chips, cracks, or restorations. TW75

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c1880 Dresden Porcelain Bird on Nest Potpourri Box with applied flowers 7" tall x 7.5" wide. Chip to top of Bird Beak and scattered difficult to notice losses to flowers/petals. Displays very well, no restorations, no cracks. Likely Schierholz. TW189

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c1880 Dresden/Bohemian Chinoisiere Plate Set Hand Painted 8.5". Selling the set of 4 wonderful plates all hand decorated from the last quarter of the 19th century. Some wear to gilding on rim, two white ones, one red, one blue. The red one has a very small chip on the back shown in the last pic left center. TW193

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c1880 English Majolica Covered Birds on Nest Game Dish. 8.5" x 6.5" x 6" tall. Very good condition with no restorations, one tight hairline on base that doesn't go through to exterior shown in top center of last pic about 1" long. Some very small chips on open eggs. This is an extremely rare piece of Majolica 130-150 years old with very little wear for it's age. The only other one of these I've ever seen for sale was heavily restored(Missing one egg and other eggs restored) and $1200. In different periods of time and in different countries the word majolica has been used for two distinct types of pottery. Firstly, from mid-15th century onwards there was maiolica, a type of pottery reaching Italy from Spain, Majorca[1] and beyond. This was made by a tin-glaze process (dip, dry, paint, fire), resulting in an opaque white glazed surface decorated with brush-painting in metal oxide enamel colour(s). During the 17th century, the English added the letter j to their alphabet.[2] Maiolica was commonly anglicized to majolica thereafter. Secondly, there is the Victorian mid to late 19th century type of pottery also known as majolica made by a more simple process (paint, fire) whereby coloured lead glazes were applied direct to an unfired clay mould, typically relief-moulded, resulting in brightly coloured, hard-wearing, inexpensive wares both useful and decorative, typically in naturalistic style. This type of majolica was introduced to the public at the 1851 Great Exhibition in London, later widely copied and mass-produced. Minton & Co., who developed the coloured lead glazes product, also developed and exhibited at the 1851 Exhibition a tin-glazed product in imitation of Italian maiolica which they called also majolica. tw237

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c1880 Faceted Blue Glass inkwell. 2" wide x 2 3/8" tall with no cracks, chips, or restorations. Very slight roughness to the sharp corners at the base only visible upon very close examination. perfumeshelf

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c1880 Ferdinand Barbedienne, French, 1810-1892 Bronze Plaque Mother and Child. Nice antique bronze plaque guaranteed late 19th century. 14" wide, 8 pounds. Ferdinand Barbedienne (Jan 10, 1810 – Mar 21,1892) was a French metalworker and manufacturer, he was well known as a bronze founder. Born the son of a small farmer from Calvados, Barbedienne started his career as a dealer in wallpaper in Paris. In 1838 he went into partnership with Achille Collas (1795-1859), who had just invented a machine to create miniature bronze replicas of statues. Together they started a business selling miniature antique statues from museums all over Europe, thus democratising art and making it more accessible to households. From 1843 they extended their scope by reproducing the work of living artists and also diversified by making enamelled household objects. The F. Barbedienne foundry was started in Paris in 1838 by Ferdinand Barbedienne and his partner, Achille Collas, who was the inventor of a machine that would mechanically reduce statues. At first they produced bronze reductions of antique sculptures of Greek and Roman origin. Their first contract to produce bronzes modeled by a living artist was made in 1843 when they arranged to produce the works of Francois Rude. They barely survived the revolution and financial collapse of 1848 which caused many artists and foundries to declare bankruptcy. Barbedienne actively pursued contracts with the many sculptors of Paris contracting with David D'Angers, Jean-Baptiste Clesinger, and even producing some casts for Antoine Louis Barye, as well as others. Achille Collas died in 1859 leaving Ferdinand Barbedienne as the sole owner of the foundry which by that time had grown to employ over 300 workers at their workshop in Paris. Barbedienne became President of the Reunion of Bronze Makers in 1865,a post he held until 1885. The outbreak of the Franco-Prussian war in 1870 and the shortage of raw metals caused him to have to stop making sculptures but he did receive a contract from the French government for the production of cannons which kept his foundry open. After the war he resumed his casting of sculptures and put even more effort into signing contracts with various sculptors. Barbedienne purchased 125 casting models from the late Antoine Louis Barye's sale in 1876. He set about casting and selling editions of these sculptures which was very successful, devoting an entire catalogue to these works. Ferdinand Barbedienne died on March 21, 1891 and was mourned by many in the world of sculpture. It was said that he strove to the highest quality in his castings Albert Susse said of him that he was the "pride of the nation" and that that he "carried the splendor of our industry so loftily to all international competitions". The running of the foundry was taken over by Gustave Leblanc, a nephew, and continued the high standards set by Barbedienne. The foundry set up agencies in Germany, Britain, and the United States to market their production. Leblanc actively purchased models and production rights form sculptors including Auguste Rodin and the estates of sculptures including Emmanuel Fremiet. The foundry continued under the stewardship of M. Leblanc until 1952. tw138

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c1880 Fischer & Mieg Pirkenhammer Imari Style Plate Czechoslovakian Porcelain.<br>Really nice plate mid to late 19th century with no damage or restorations.<br>tw82

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c1880 French Art Glass Crystal Dresser Jar with Gold Enameling. No cracks,<br>chips, or restorations. Snaps shut and good hinge. 3.75" wide x 3.5" tall.

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c1880 French Baccarat pressed glass pineapple compote. Unusual piece with holes I suppose for short prisms to hang, I'm sure it's an antique piece and though I don't have time to research it I feel it's Baccarat as I've had a fair amount of Baccarat pressed glass. Unmarked 7" wide x 2 5/8" tall. tw270

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c1880 French Bronze Champleve Diminutive Ladies Inkwell and Letter opener. A very small and attractive inkwell and letter opener, doesn't have to be a ladies but I believe it was intended for so in the late 19th century. Letter opener is 5 7/8" long, inkwell is 3.75" tall x 4.25" wide at base. No significant loss or damage, there is one scratch on the alabaster insert that shows more in pics than real life. There is no liner for the inkwell. tw146

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c1880 French Bronze Champleve & Agate Pill Trinket Box. Rare and fantastic item. 2" x 1 5/8" x 13/16" tall. Very clean, well over 100 years old with minimal wear. TW74

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c1880 French Bronze Dore Guilloche Enamel Opera Glasses. 4" wide x 2.75" tall fully extended. They don't get much better 100% hand painted, original case. Fully functional and display very well, there are some missing jewels and slight cracks to enamel shown in last pic, leather handle to case is damaged. tw217

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c1880 French Bronze Mounted Green Marble candelabra. 10 1/8" tall x 8.75" wide, a nice antique diminutive candelabra with no issues. isshelf

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C1880 French Bronze relief on onyx Holy Water Font Madonna and a baby a Jesus<br>Signed A. Sales. 5.75"tall x 4.25" wide.

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