Meissen Full Green Vine Scalloped 8 7/8" luncheon Plate (multiple available).<br>Selling one with multiple available, All appear unused with no wear or damage<br>whatsoever.

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1960 Kentucky Derby Sterling clip. Buying the clip shown, tie clip or whatever kind of clip you want it to be. Or just the rare Kentucky Derby memorabilia item it is. 12.5 grams, sterling functional with no issues.

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Antique Shaker Pantry Box Painted by listed Artist Betty Fischer 15.25" wide x<br>7.75" tall<br><br>Mary Elizabeth "Betty" Fischer (1931-2016) Maryland, Folk Artist. Betty Fischer<br>known for her original paintings on antique wood shutters, bird houses, barrel<br>slats and more. www.liveauctioneers.com/item/53924277<br><br>Mary Elizabeth "Betty" Fischer (1931-2016) Maryland, Folk Artist. Betty Fischer<br>known for her original paintings on antique wood shutters, bird houses, barrel<br>slats, and more.<br>Betty was very active and enjoyed gardening, sewing, and playing the piano, but<br>she will be most remembered as an accomplished and talented artist. Although she<br>did not start painting until the age of 43, she picked it up very quickly and<br>established a successful art career. Her paintings have been seen hanging in the<br>University of Maryland, the Cannon Office Building, several restaurants, other<br>professional offices, and the homes of many friends and long-time customers.

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Limoges Basket Hand Painted Flowers and Heavy Gold c.1910 6 5/8" wide x 3.5" tall. No cracks, chips, or restorations. Some wear to Gilding on handle.

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Meissen Rose Pink Gold Rimmed Large Oval Tureen 14.75" x 11" tall. No cracks, chips, scratches, crazing, stains, flaws, or gold wear.

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Vintage 1950's Hermes 2oz Perfume Bottle. Labels as shown. 4.5" tall x 2" wide. Estate fresh with partial contents that smells this, but I wouldn't know if it's hermes. It's very old and cloudy with sediment. No chips on base, some shallow chips on stopper, the only large one shown in pic. Seals perfectly, will be secured for shipping.

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Meissen Rose Pink Gold Rimmed Soup Bowl 9 3/8" Mint (multiple available) selling one with multiple available, all with no cracks, chips, scratches, crazing, stains, flaws, or gold wear.

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No damage or other issues.<br><br>Artist: Salvador Dali (after), Spanish (1904 - 1989)<br>Title: Soft Telephone<br>Year: 1968<br>Medium: Etching, signed in the plate<br>Image Size: 7 x 4.75 inches<br>Size: 9" x 7" inside matting<br>Frame Size: 16.75 x 14.75 inches

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Antique Agate Trinket/match box. 2.25" x 1.25" x 1.25", no damage or significant wear. There's some irregular lines in bottom stone but I possibly stable fissures, really difficult to tell. These were all purchased in New York at Parke-Bernet Galleries before they were bought out by Sotheby's in 1964.

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Royal Worcester Hush Figural Candle Snuffer 1976 3 5/8" no cracks, chips, crazing, or restorations.

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James Kent Flow Blue Wall Charger c.1900 Middle Eastern Scene 10.5" no cracks chips, restorations, or stains. Expected crazing from 120 year old earthenware. Factory holes for hanging.

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Imperial Cape Cod Large Oval ruffled Console Bowl 11.75" x 8" x 3.75" deep. No<br>cracks, chips, or scratches, perfect clarity. Difficult to find piece.

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Vintage Moroccan African Tribal Berber Pillow c.1960 new Never Used 19" x 13" Great piece Never used, it's been in a blanket chest for 50-60 years.

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1940's Eskimo Doll Carved Wood Fur Coat glass Beads hair pants leather moccasins 9" all hand made. Hand carved. I believe the whole body is wood. Very good quality old doll. I'll include the stand

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Amado Pena Signed and Numbered 1975 "la Boda" print The wedding 19/90 Black and<br>White 11.5" x 17.5" paper. No tears or significant issues. High quality print<br>from 1975 hand numbered by pena.<br>Tw80

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This book is a very important piece of black Americana. It was given as a gift<br>by Camille Cosby, Bill Cosby's wife. It is hand signed By her, Bill Cosby, the<br>author David Driskell, and the Biography co author Rene Hank's. There can't be<br>but a few of these out there with all four signatures. Guaranteed 100% without a<br>doubt authentic and estate fresh. Measures 13.25" x 10 3/8". Great condition<br>with no dog ears or otherwise damaged pages. Small tear in back top corner of<br>dust jacket which could easily be replaced with a non signed versions.

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Antique Engraved 800 Silver case. Fancy and heavy with no issues, very well<br>made. Monogrammed as shown, marked 800 top right inside, tested 80% silver or<br>more. 5 1/8" x 3.25". Inside compartment will hold s or anything else of similar<br>size up to 2.75" long. 184 grams.

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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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Frame is 8.75" x 6", sight is 2" x 6" original frame. Stevengraph is in great condition, original frame shows some wear. 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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17" tall x 9.5" at widest point. All original and very hard to come by. One very<br>small chip on base shown in second pic, and 4 petals missing from boy's wreath.<br>No other chips, no cracks, no restorations. Solid piece not wobbly.

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c1890 Unger Brothers Douvaine Sterling Sardine Serving Fork. 6" long x 2 1/8" wide, no damage, some wear to gold wash on bottom section as expected. Monogram as shown.

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9" tall x 4.5" wide. No cracks, chips, or other issues. Beautiful pieces<br>guaranteed c. Late 19th century.

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Unmarked c. 1880-1890. No cracks,chips, or restorations. Some wear to holding and apparent factory flaw of a slash going through her face. 10.75" wide.

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9" wide x 10.75" tall without burner, 14.5" tall with burner. Takes a 2 3/8"<br>wide chimney and 3 7/8" maybe 4" globe, would take a 3" globe. No damage to the<br>doulton base, few dings on the brass French insert.

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1976 Named Vietnam War Zippo in box USS Biddle DLG-34. Clean lighter that's seen little use. Has the now no longer with us Navy Veteran's name Mike Zubay crudely but nicely engraved on it. Tight hinge, clean working condition, needs flint and fluid of course.

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C.1900 marked est 1774 Cauldon China England. Then below William Junor 352 Yonge Street Toronto, which was a large high end China shop in Toronto around the turn of the century. 9" wide with no chips, cracks, crazing, or repairs on any of them. A few light scratches, but very clean in general with good gold. I believe the border is transfer printed and the house decoration is hand painted over transfer due to the slight variations on each plate. Selling all six for one price.

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11 1/8" tall x 8.5" wide with no damage. Guaranteed antique cure 1890-1910,<br>strong tight hinge on stand. It won't wiggle when pushed in the standing<br>position. Great functional antique.

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Mid Century Vintage Whiting and Davis Mesh handbag with Rhinestone top. Likely from the 50's or 60's but looks like new with no damage or detectable wear. 6" wide frame, 9.25" wide at base, nice functional size in a beautiful black enamel mesh with an uncommon rhinestone encrusted goldtone top. kitshelf

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Collection Antique Pewter Ice Cream molds. All marked by various makers, French Brevete, S&C, the one Bruningmeyer is a different lighter alloy similar to aluminum/zinc. Hand shown in two pics for scale. Selling the lot shown. isshelf

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French Limoges hand painted snail trinket box. 3.5" wide x 2.75" tall. Nice large trinket box with tight hinge and catch that clicks when the box is shut and holds it shut when lifted by the top. No damage or detectable wear.

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French Limoges hand painted snail trinket box. 3.5" wide x 2.75" tall. Nice large trinket box with tight hinge and catch that clicks when the box is shut and holds it shut when lifted by the top. No damage or detectable wear.

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No cracks, chips, or restorations. Wear to Gilding as expected and shown in pics. 4.75" tall x 3" wide. Guaranteed circa mid to late 19th century.

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Guaranteed antique hand carved santos doll most likely Mexican or Italian.<br>Measures 13" tall x 5.5" wide. Looks as though three tops of the fingers are<br>missing as though it was holding something. Not sure what the deal is with the<br>eyes. One may be missing or maybe it's painted over. You can tell at one point<br>it was painted pink and the paint was painstakingly removed, not by me. The base<br>appears to have a few thin coats of paint on it.<br>Tw62

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Guaranteed early to mid 19th century. No cracks, chips, crazing, or restorations. Very uncommon piece. 7" wide.

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Measures 3 5/8" wide x 2" deep. No cracks, chips, or restorations.

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

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

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Herend Fortuna Triangular Vegetable Bowl Rust Butterflies Chinoiserie Pattern 10<br>1/8" x 2" deep, selling one with multiple available all with no cracks, chips,<br>restorations, crazing, wear to gilding, or utensil marks.<br>isshelf

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Nice piece measuring 4" tall x 2.75" wide. Some minor loss too heavy white enamel. No cracks, chips, or restorations.

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Guaranteed circa 19th century to Late Qing Dynasty. Nice whimsical decoration 4.5" tall x 3 5/8" wide. Some minor flakes shown in pics. Very functional and presentable. Wheel thrown and hand decorated. No cracks or restorations.

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Art Deco Sterling mesh handbag. Very nice handbag in incredible condition with<br>no noted damage. Typically the top braided handle would have issues, or tears<br>where it opens, this one is near perfect. Marked sterling with original<br>dedication on inside rim. Frame is 3" wide, 16" total length with handle. 99.4<br>grams of solid sterling silver.<br>silverdrawer

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1972 Press Club of Dallas "Katie Award" Best Spot Newspaper Coverage Sam Kinch<br>Jr Dallas Morning News Modernist Sculpture 15" tall and very heavy, solid bronze<br>on a wood base.<br><br>Sam Kinch Jr., was the founding editor of Texas Weekly and a former political<br>and government correspondent for The Dallas Morning News.<br><br>Kinch started Texas Weekly in 1984 with two friends, George Phenix and John<br>Rogers. He sold his share in 1998 (the political newsletter is now part of The<br>Texas Tribune) and retired to write, travel and enjoy his family.<br><br>He was a terrific reporter and mentor to other journalists, irreverent, smart as<br>hell, a great lover of dirty jokes, full of history, an incurable reader, a<br>Presbyterian elder and a surprisingly soft touch for people who needed some<br>help.<br><br>He wrote books, including Texas Under a Cloud, with Ben Proctor, about the<br>Sharpstown stock scandal that rocked the Capitol and resulted in the biggest<br>turnover in legislators in modern history, and Too Much is Not Enough, with Anne<br>Marie Kilday, a book on campaign finance in Texas.<br><br>Kinch was a University of Texas grad, with bachelor's and master's degrees in<br>journalism, a former editor of The Daily Texan.<br><br>The Press Club of Dallas originated in the late 1940s, when<br>employees of the Dallas Morning News and the Dallas TimesHerald gathered to<br>socialize after work. The organization was<br>formally founded in 1948 and chartered by the State of Texas in<br>1951. Its members were some of the first responders on the scene<br>when President Kennedy was assassinated, and the new reporting<br>standards established nationwide afterward bolstered the club’s<br>appeal to professionals. The Press Club of Dallas moved locations<br>frequently over the years, residing most recently at the Women’s<br>Museum in Fair Park. The organization currently maintains a board<br>of directors but has no physical location.1<br>The organization’s most notable activities are its annual<br>Gridiron show, Katie Awards, and roasts. The Gridiron show<br>began in 1951 and was modelled on the national one staged in<br>Washington, D.C. Originally consisting of “biting satire,” the<br>performance shifted towards a Broadway-esque style during the<br>late 1970s, but continued to lampoon events in Dallas. The<br>Griddle, a satirical newspaper, was produced and sold at the shows<br>to generate additional revenue. The Katie Awards ceremony began<br>in 1958. It honored “excellence in journalism” and attracted large<br>numbers of members of the press due to the prestige associated<br>with winning one. The Press Club of Dallas also annually roasted<br>prominent local citizens. These events serve as fundraisers for<br>journalism scholarships offered by the organization.2

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Great Gorham Maryland Cracker Scoop. It measures 8 3/8" long and the bowl is 3.3" wide. Good vintage condition no issues or bends. Marked with the lion anchor G sterling mark. 2.35 troy ounces.

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Vintage French Apollinaris Liquor Advertising Match holder. No damage. kitshelf

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Guaranteed antique hand carved santos doll most likely Mexican or Italian.<br>Measures 14" long x 6.25" wide. Looks as though it may have been jointed at one<br>point. The eyes were foggy but I cleaned them partially with my fingernail,<br>should clean more.<br>Tw62

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Measures 3.5" wide x 2.75" tall. I think there's mother of pearl behind the<br>reverse painted widows. Guaranteed right around 100-120 years old and wonderful.<br>No cracks or chips, or wear to enamel, tight hinge, snaps shut tightly.<br>Tw97

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Some gold wear and minor wear to Decoration. 2 5.25 berry bowls have very small<br>rim chips, other berry bowls, 9" large bowl, and 10.5" cake Plate all have no<br>chips, cracks, or restorations. Guaranteed RS Prussia C.1900.

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Measures 3.25" wide x 3" deep. Guaranteed right around 100-120 years old and wonderful. No cracks or chips, or wear to enamel, tight hinge, snaps shut tightly.

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3.5" tall. No damage, but the dobber or cork has been replaced with paper to<br>keep the lid on.

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10" handle to spout x 7.5" tall. Worn spot on one side, couple flakes and some rust on one side of the spout. The hinge pin appears to have been replaced, lid wobbles a little when opened, but closes tight. Nice uncommon 130 year old piece with no major issues.

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Collection of Interesting sterling spoons. Selling the collection shown, 3 British, one Irish, and the enamel strawberry spoon. 3 are master salt spoons, longest 5.5", total weight 62.5 grams.

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Nice rare early American bottle. Small chip on lip shown in first pic, some<br>scratches on embossed areas. Sheared lip, open Pontil. Guaranteed authentic and<br>estate fresh.

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c1900 Antique Sterling Calling card case/wallet. 3.5" x 2.75" x 81.5 grams, some<br>small dents on sides as shown no other issues, monogrammed as shown.<br>silverdrawer

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

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

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Guaranteed circa mid 19th century, special. 5.5" wide. There is a re glued chip shown in two pics, no other damage. Uncommon scene.

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Measures 16.5" wide x 5.5" tall. Top quality Bohemian cut glass in the original<br>period Art Nouveau pewter holder. Both pieces guaranteed c.1890-1910. No major<br>issues with the pewter or the glass. One very small flake on the rim of the<br>glass that could easily be ground it for $5-$10 with no evidence it was there.<br>Nice patina to pewter holder. I found an impressed C on one foot, no other<br>markings.

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c1826 William Trayes Sterling Berry Spoon with Wood fitted case. Spoon 6.75"<br>long, case 8.25" long....really one of the fanciest things ever. Gold washed<br>bowl and accents all hand chased/engraved. Imagine showing up to a party with<br>this 197 years ago!?!

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Metal/Bronze Medallion collection Cowtown Warriors US/Australian Mateship, Bush Cheney. This is from the living estate of U.S. Diplomat Penne Korth Peacock. Selling the collection shown, some bronze, some other metals, bottom right is plastic. Penny shown in second pic for scale. kitshelf

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No cracks, chips, or restorations. No Gilding wear on rim. The gold and border is hand decorated, the portrait I believe is a transfer. Late 19th to early 20th century.

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c1980's British Roadace Replica 1964 Maserati 4.9 in Original Box. Average Wood base measures 2.25" x 1.25", car approx 1.5 or 35mm long. Selling the Exact car shown, car is perfect, some wear and or adhesive residue to box. Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have been sports and GT cars, sports racing cars, and Formula 1 racing cars. Models were cast in resin and individually painted by hand, including such details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was used for flat windscreens and occasionally metal was formed and used for details like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some are even smaller.

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c1980's British Roadace Replica Lotus Elan in Original Box. Average Wood base measures 2.25" x 1.25", car approx 1.5 or 35mm long. Selling the Exact car shown, car is perfect, some wear and or adhesive residue to box. Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have been sports and GT cars, sports racing cars, and Formula 1 racing cars. Models were cast in resin and individually painted by hand, including such details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was used for flat windscreens and occasionally metal was formed and used for details like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some are even smaller.

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c1980's British Roadace Replica 50's-60's Racecar model collection. No<br>detectable issues or wear. Average Wood base measures 2 5/8" x 1 3/8", car<br>approx 1 5/8 or 40mm long. Selling the Exact 9 cars shown. I photographed one<br>individually with the intention of listing individually but I figured I would<br>offer them as a group for a better price. These are all quite rare as they were<br>not mass produced, historically they tend to average $125-$200 each. If I were<br>to split up this group I would want towards the higher end for just one but<br>could potentially work a deal on several. I'll be offering other makes and<br>models separately, these are really fantastic.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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c1980's British Roadace Replica 1960 G.T.R. Sports Jaguar Mercedes Ferrari and<br>Porsche models. Selling the board shown, I don't know what scale these are,<br>possibly 1:200, they are smaller than the others I have, amazing. There is some<br>loss that isn't evident without close examination. Mercedes and Porsche appear<br>to missing the drivers or the seats, the Jaguar is missing part of the tailfin.<br>Still a great group, extremely rare to find in any condition. Board measures 6<br>1/8" x 1.25", cars 18mm or .75" long.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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Guaranteed mid to late 19th century. No cracks, chips, or restorations. Some minor wear to enamel and Gold. All hand decorated. Above average quality.

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c1980's British Roadace Replica 1960's BRM F1 Racer model collection. No damage<br>or detectable wear. The Average Wood base measures 2 3/8" x 1 3/8", car approx<br>1.5 or 35mm long. Selling the Exact 3 cars shown. These are all quite rare as<br>they were not mass produced, historically they tend to average $125-$200 each.<br>If I were to split up this group I would want towards the higher end for just<br>one but could potentially work a deal on several. I'll be offering other makes<br>and models separately, these are really fantastic.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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c1980's British Roadace Replica 60's-70's Ferrari models collection. No<br>detectable issues or wear other than the one I photographed individually has the<br>tiniest paint nick on back left corner of tailfin. Average Wood base measures 2<br>5/8" x 1 3/8", car approx 1 5/8 or 40mm long. Selling the Exact 11 cars shown. I<br>photographed one individually with the intention of listing individually but I<br>figured I would offer them as a group for a better price. These are all quite<br>rare as they were not mass produced, historically they tend to average $125-$200<br>each. If I were to split up this group I would want towards the higher end for<br>just one but could potentially work a deal on several. I'll be offering other<br>makes and models separately, these are really fantastic.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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I'm not 100% sure this is a Dresser design as I could find no records on an<br>identical piece.<br><br>Measures 11" tall total, base is 5 1/8" wide. burner mechanism is functional.<br>Knob turns and wick goes up. There may have been a cap that covered the burner<br>when not in use. M monogram on Base. Rd no. 600494 stamped in center on base,<br>which dates it to 1912. Patent stamped on burner knob. Minor wear to Silverplate<br>underneath bear<br>Base and on burner/knob.<br><br>Hukin and Heath, a silver and Silverplate company was established by Jonathan<br>Wilson Hukin and Thomas Heath c.1855. A strong relationship was developed with<br>Dr Christopher dress as the head designer from 1877 until c.1881. Dressers'<br>designs were launched at the opening of the firm's showrooms on Charterhouse<br>street in August 1879. Some of Dresser's designs were manufactured until after<br>1900.<br>Tw10

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2 great pieces with a fantastic patina. All hand decorated. They both have a<br>small engraving on the back that seems later than the pieces, most likely one of<br>the owners initials. They're 7.5" wide x 1.5" deep. Guaranteed 19th century<br>possibly much older.

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French 1977 R.D. Marmande Hand Carved/painted 1:43 Scale Model Intaltera Ford V8<br>Coupe. Clean with no issues.<br><br>RD, that is Raymond Daffaure from the town of Marmande in South-West France, is<br>in a way probably one of the greatest model makers ever. All his models are made<br>entirely by hand from a piece of wood. Mr Daffaure sculpted about 40 models a<br>month, for 20 years from the 50's-70's, to make a living. For him. Lmited to X<br>pieces wasn‘t a marketing strategy, but pure necessity. Of his best selling<br>model, the Ferrari GTO, he made maybe 200 copies, others were made only in 2 or<br>3 copies. Raymond Daffaure probably sculpted more than 800 different cars.

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Measures 9" tall. The opening is 1 9/16" wide, base measures 4 13/16" wide. Guaranteed early to mid 19th century. All hand painted with dovetailed brass base. Chip on rim, still a rare enough piece to have significant value.

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6.25" tall x 4.25" wide at widest point. Guaranteed antique circa late 18th to early 19th century Vienna porcelain. This was originally an extremely popular Meissen design in the early 18th century. Later copied by Chelsea c.1760, I've seen examples bring 20k. No major damage or restorations. There is damage to one of her bows and one petal missing off of the flower by the Man's foot. No other damage. Unusual figure.

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9" tall x 8" handle to spout. Hard to find item. There is some pitting to the metal and the knob on the lid isn't straight. There is copper showing through the plating on the base. I believe it was made by Manning bowman in Meridian, Connecticut in the late 1800's.

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

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Really nice piece, lots of time was spent on this piece 120+ years ago. Gold wear on rim, the rest of the gold is very clean. A few very tiny chigger bites on the rim and one shallow chip fingernail sized towards the top, no cracks, no restorations.

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8 5/8" long x 7.5" tall with no cracks, chips, or other damage. Very hard to find item.

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Antique Royal Vienna Style Urn Hand Painted Artist Signed Portrait with heavy gold and enamel Decoration on cobalt ground. Measures 10 3/8" tall with no cracks, chips, or repairs. Minor gold loss and loss to enamel shown in pics, tiny paint loss spout on woman's head. Overall excellent condition, good and tight. Guaranteed circa late 19th century Austrian porcelain. tw135

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1933 Ladies Sterling Golf Trophy Manila Golf Club Philippines. Rare, interesting, one of a kind functional antique. Cutest 5" tall high quality sterling vase given as a trophy for Women's golf in the Philippines of all places in 1933. Slightest bends to top and bottom. Overall beautiful and displays well. 54 grams.

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Really special work of art. The note on the back indicates that the mold was from these peoples wedding then I guess the family turned it into art for their 50th anniversary. I assume they were gold plated at that time. That was 50+ years ago from the looks of the frame. Frame measures 12.25" x 10.5" x 1.75" deep. The mold measures 5 1/8" wide x 3.5" tall. b20

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Very hard to find character jug. Measures 7.25" tall x 8.75" handle to handle.<br>No cracks, chips, or crazing.

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Great, way above average lap Desk. Annie McKellar must've been much appreciated<br>to have received such a gift 116 years ago. Any help on additional provenance<br>would be greatly appreciated.<br><br>The desk in in great condition with a small chip off the verneer in the top back<br>left corner, and small inlay missing at key hole. There are some cracks in the<br>verneer on the lid. No key included, no other issues. Measures 12" x 9" x 7"<br>tall.

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The soles appear to have never touched the ground. There's a tag on then that<br>says 3 1/2D and has a price of 1.93 or 7.93, can't tell for sure. The laces are<br>a little frail, but the leather on the boots is soft like early kid glove<br>leather. There is some wear to the purple silk lining. They're pretty small<br>measuring 9.5" long from pointy top to very back of heel, and 2.75" wide at the<br>widest point.

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4 are pushups, 2 side pushups, the two miniature ones may have had pushups but none are there. The other pair are marked England therefore made after 1891 but I think they are still turn of the century as they have a nice patina. There's a few dings and bends but overall good condition. I think all the pushups are frozen with wax.

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Both signed Heubach, they measure 13" tall x 8" wide. The green dress one has a<br>very small chip on her dress at the top right close to her hand and one more on<br>the base left corner, also a factory firing flaw below the mark, no other damage<br>whatsoever. The one with the pink dress has a very small chip below the mark on<br>the base with no other damage whatsoever. They're both guaranteed Victorian<br>c.1890. They were together in the estate so I'd like to keep them together, but<br>if you're only interested in one I'd consider an offer.

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Inside of matting is 27" x 21", frame is 38" x 31.5". There are no issues with the drawing or the frame.Biography   Brenda Polsky Morgan ChildsObituary: "Clients Included Richard Nixon, John Wayne, Bob Hope, Barbara Jordan," by Patrict George, American Statesman, Sunday, November 09, 2008 In 1963, future President Richard Nixon attended a Texas vs. Arkansas football game in Austin. Wanting to give a gift to Nixon, then-U.S. Sen. John Tower of Texas commissioned Austin artist Brenda Polsky Morgan Childs to paint a scene from the game, which he then sent to Nixon. The painting was flown to Washington first class, but she flew coach, Childs' friends recall. It was a perfect example of how Childs' talent at painting — which brought her famous clients like John Wayne, Bob Hope and Barbara Jordan — never overshadowed her humility.

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Underplate measures 16 1/8" x 11 5/8", Tureen measures 12.5" x 8.5" x 9.5" tall. No cracks, chips, crazing, paint or gold wear. Very clean vintage condition, discontinued in 1991.

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Cups are 3" tall, saucers are 5.75" wide. Great vintage set in a harder to find<br>pattern. No cracks, chips, or stains. Crazing on every piece, I believe it was<br>produced that way on purpose.

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Late 19th century Staffordshire English. Minor crazing and utensil marks, very<br>light stains shown on bottom left pic, please look at pics. Still has a really<br>nice shine to the glaze. No cracks, no other chips, no restorations.

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Guaranteed early to mid 1800's. 10 saucers and 5 cups. One saucer has a crow's foot, but since there's extras that shouldn't be an issue. Very light yellowing to some pieces, no dark noticeable stains. No cracks, chips, or restorations other than the one crow's foot. These are 100% hand decorated, it takes close examination to see the subtle variations of the pattern. 5.75" saucer x 2.5" tall cup.

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Great set of early candlesticks with a nice patina. Will clean up really well<br>without too much work. Guaranteed 19th century. These are a different style from<br>the many I've owned. They measure 8.25" tall. One is missing the button on the<br>pushup, and both are stuck with wax.

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8 5/16" wide c.1900 good vintage condition, only minor rough spots on unglazed part of the foot rim, and some gold trim wear on rim. No cracks, scratches, or chips on exterior rim.

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Creamer is 3.5" tall x 5" from handle to spout. Sugar is the same. Both are<br>cracks, chip, and restoration free. Circa 1920's to 1930's. Firm ceased<br>production at the beginning of World war 2.

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1980's Bronze Delta Kappa Gamma Golden Rule Award from JC Penney. 8" tall x 8.5"<br>wide at base, solid bronze with a marble base, heavy. Press photo shown is just<br>a copy of something someone else sold previously therefore not included.<br><br>A bronze flame is the symbol of the JC Penney Golden Rule Award, presented in<br>recognition of outstanding volunteer service to the community. The Award,<br>accompanied by a $1,000 grant to support the volunteer's work, is given to an<br>individual or organization selected by a distinguished panel of civic leaders in<br>a community-wide competition. The Award reflects a tradition of community<br>service at JC Penney that has persisted since James Cash Penney in 1902 opened<br>his first store, called "The Golden Rule." Sculptor Greg Wyatt represents his<br>bronze flame-of-freedom as the spirit of the volunteer's free choice to help a<br>neighbor.<br><br><br>Greg Wyatt is an American representational sculptor who works primarily in cast<br>bronze,[1] and is the sculptor-in-residence at the Cathedral Church of St. John<br>the Divine in New York City.<br><br>Wyatt was born in Nyack, New York and raised in Grand View-on-Hudson, New York.<br>His father was William Stanley Wyatt, a painter and professor of fine arts at<br>Columbia University, Rockland Community College and the City College of New<br>York.[1] Greg Wyatt graduated from Columbia College of Columbia University in<br>1971 with a Bachelor of Arts degree in Art History.[1] He also attended the<br>National Academy of Design for three years, where he studied figurative<br>sculpture, and received his certificate in sculpture, and earned a master's<br>degree in Ceramic Arts from Columbia Teachers College in 1974. Wyatt has taught<br>at New York University and at Jersey City State College.[3][4] He is currently a<br>member of the Board of Directors at The American College of the Mediterranean in<br>Aix-en-Provence, France. He is also a member of the Board at Brookgreen Gardens.<br><br>Wyatt bases his work on the philosophy of "spiritual realism," merging realistic<br>images and abstract masses of form, space and energy.<br>Professor Sir Stanley Wells, a renowned Shakespearian scholar and emeritus<br>chairman of the Shakespeare Birthplace Trust, says, "I compare Wyatt to Rodin.<br>He's that good."[6] "Wyatt emulates the sculpture of the western world with<br>contemporary vision."[3] His works have been exhibited at the Metropolitan<br>Museum of Art, Harvard University, and Vanderbilt Mansion National Historic<br>Site, among other institutions and collections,[5] and can be seen in more than<br>20 public spaces in cities from New York to Beijing.<br><br>Wyatt has made many corporate commissions, including a bronze statue of J.C.<br>Penney founder James Penney which weighs 3 tons and cost $250,000

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The last picture is the base which you can see from the next to the last pic is hammered on. So I guess this is one hookah base hammered onto another layer of brass to ensure being waterproof. Guaranteed early, maybe 18th century. Guaranteed 100+ yrs old maybe 300, you be the judge.10" tall x 5.5" wide x the inside of the lip is 1.25" wide.

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c1890 French Surfine P. Bardinet Limoges Mary Gregory Style Advertising ewer.<br>6.5" tall with no damage, hand painted.<br><br>isshelf

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This is an incredibly interesting one of a kind item. It's definitely old,<br>guaranteed 1920's to 1970's, I'm guessing 50's or 60's from the hairstyle and<br>patina of both the wood and the copper. It's in its original homemade frame with<br>an old plywood back. Really interesting, definitely not mass produced. Measures<br>12 5/8" x 9 3/4". I can't find any indication of it's artist. Since I haven't<br>owned it since it's conception, it's hard to tell if it's in original condition<br>or has some dents.

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