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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1789 George III Sterling Thomas Wallis London Fancy Engraved bird spoon. About as incredible as 234 year old spoons get. 8.75" long with no issues, gilt bowl. 56.5 grams.

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2 Staffordshire prattware Pot Lid Uncle Toby, Dr Johnson 19th century 4 3/8" both have some minor damage shown in pics, no restorations. Guaranteed circa mid 19th century. Fine overall crazing 4 3/8" wide x 1" tall.

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Mid Century Austrian Roulette wheel cufflinks. High quality cufflinks, I believe brass or gold filled, no damage. They each have functional roulette wheels with center knob that spins them..

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Staffordshire prattware Pot Lid Garibaldi 19th century 4 3/8"tight hairline and ding on bottom rim, some glaze flakes on top rim. Guaranteed circa mid 19th century. Fine overall crazing 4 3/8" wide x 1" tall.

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

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Vintage collection cufflinks money clips, tie clips, etc. Selling the lot from the third quarter of the 20th century, most cufflinks have mates, a few don't. Please no questions as the lot will be inaccessible after listing until sold. Some gold filled, some sterling, nothing with any significant wear or damage, dog money clip has a pocket knife an nail file. If you're thinking "Why didn't he take 10 pictures of this in every picture imaginable then spend twenty minutes describing each item?" The answer is I would have had to charge twice as much for it if I did that and I would rather sell this for a good deal. It has to be a good deal at this price.

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Vintage Egyptian Revival Gold Filled Scarab Bracelet with Semiprecious stones. Great piece mid 20th century with no issues. 21.1 grams

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Royal Copenhagen Farm Girl Feeding Cow Figure c.1950 6.5" tall x 6.5" long. No<br>cracks, chips, restorations, or crazing<br>B8

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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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Vintage Egyptian Revival Gold Filled Scarab Bracelet with Semiprecious stones. Great piece mid 20th century with no issues. 10.5 grams

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

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Vintage Native American Sterling turquoise Chandelier style screw back earrings. Amazing pair of very over the top earrings, nice old pair from the 40's or 50's with no issues. 25.2 grams.

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

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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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Western mountain Landscape watercolor Painting Complex and Colorful signed<br>-Hare- 18.25" x 14.25" framed. 7.5" x 12" sight. Clean frame painting, and<br>matting.

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Monstrous Retro Southwestern Sterling Amethyst necklace. Very huge, heavy, bold<br>and incredible!!! Illegibly signed by the artisan and what looks like the<br>remnants of a 20-30 year old $2400 price. Bottom Medallion is 2.75" x 2", other<br>4 are 2.5" x 1 7/8", Approx 26.5" long 304.6 grams, that's about 3/4 of a pound,<br>very serious (yet fun) necklace. No issues, no wear to stones, clean and<br>wonderful.<br><br>anderas

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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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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Vintage Native American Cobblestone Tufa Cast Sterling silver cuff bracelet.<br>Extremely high quality cuff with high grade materials. I want to say Kary Begay<br>but this is different from most of her other work. Really nice with no issues.<br>This is a really sharp cuff, my wife took these pics and I know it was<br>challenging with the wood next to the lighter turquoise as if it's not bright<br>enough the wood won't show and if it's too bright the turquoise blows out which<br>I think it did. It's better in person.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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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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16 5/8" tall Antique Parian Figure Sculpture Woman in ornate dress 19th century<br>8" wide at base. Small chip inside base rim. No cracks, other chips, or<br>restorations. Large heavy piece. Weighs 9 pounds. Marked B&B with H on top and S<br>on bottom in a diamond.

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3 1940's sterling silver brooches. 2 Mexican silver from the 40's, one Jewel Art, likely 1950's American made. Largest 2 5/8" x 2.5" 48.8 grams total weight.

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

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Vintage Greek filigree, Danecraft sterling brooch lot. Selling the three broches shown, largest 2" wide, total weight 14.1 grams, I'm sure two are sterling, not completely sure about the greek filigree one.

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Nice embossed and scalloped border. Measures 17" x 13.5" Fine example of Chinese mid 18th century craftsmanship. No cracks, large chips, or restorations. Some wear to Gilding and several very small flakes on outer run as shown in rim pics.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. c1940's Vintage Native American Sterling/turquoise cuff bracelet. Nice old,<br>large cuff with no issues.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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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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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Large Vintage Zuni Needlepoint sterling/turquoise cuff bracelet. No markings of<br>any kind, tested sterling. 3" wide in center, fits up to a 6.5" wrist.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content.

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Great early Inkwell with no cracks, chips, restorations. It has clean gold, very tight hinge, nice patina on the bronze mounts. B8

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c1950's Navajo Silver Green Chalcedony Ring. size 9.5, tested and guaranteed 90%<br>(coin silver) or better. 14.7 grams.

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Artist Signed Brauer Limoges Hand Painted Strawberries Gold Large Celery Dish<br>13.75" x 6" x 2 1/8" deep. No cracks, chips, or restorations. Near mint gold.<br>Brauer was a Pickard artist and had his own studio I believe.

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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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Native American Sterling Multi-stone channel inlay hoop earrings. Estate earrings likely 20-30 years old, possibly never worn, on card as shown. Unmarked and tested sterling. 7/8" tall x 9/16" wide x 4.5 grams with no issues.

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

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It's unmarked, measures 4" wide x 1.5" tall. No cracks, chips, or scratches on<br>glass.

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4.5" wide x 4.25" tall. Speaks for itself. Mint condition with no cracks, chips, scratches, or wear. Guaranteed late 19th century, unknown maker. Tw98

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19" tall x 13" wide x 8.75" deep. Excellent "no brainer" patina, guaranteed over<br>150 years old, likely much older. Excellent, flawless casting. 35 pounds

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Retro 18" Lanfeld Sterling/14k Collar necklace. 85,4 grams, substantial and well<br>made with no issues.

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Lee Bennett Navajo Sterling silver Spiny oyster and turquoise pendant/heishi necklace 2" wide pendant, 21"-25" necklace with extending chain. 89.5 grams with no issues.

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I couldn't find a signature on this piece, but I guarantee it to be early 20th<br>century art glass, most likely French. Most likely Degue or Schneider. The<br>holder measures 17.5" wide x 9.5"tall. The bowl is 9 7/8" wide x 2 5/8" deep.<br>There are three very small flakes on the bowl rim, not noticeable on such a<br>stand out piece. Looks to be cased with Vaseline in interior and mottled<br>exterior.

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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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The Coolest Retro Artisan 14k gold on Sterling silver Hear shaped rock pendant. This is really cool, extremely well made with strips of solid 14k gold on top of a really nicely done sterling silver frame. All formed around just a plain old rock that happens to be shaped like a heart. Just incredible. 2.5" tall x 2 1/8" wide, an amazing unmarked work of art made from precious metals, one of a kind for sure. 48 grams. Tested thoroughly by me and guaranteed solid 14k gold accents and solid sterling silver.

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Vintage 14k clasp Jadeite beaded necklace. Nice old necklace untreated Jadeite circa mid 20th century on hand tied silk with a 14k gold clasp. 10-11mm beads 128 grams. 33" long, it can easily be doubled up as a choker.

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Vintage Gumps A Jadeite beaded necklace. Selling the vintage Gumps Jadeite<br>necklace shown, graduated beads from 4.7mm to 10.2mm measured on digital<br>calipers 50.7 grams, 14k gold clasp. 22" long. Circa mid 20th century with no<br>damage, some natural fissures/color variations as it's untreated Jadeite that<br>isn't full of plastic and dye.<br><br>Since 1861, Gump's has been a destination for jewelry that is distinctive and<br>timeless. Once considered more precious than gold and treasured for thousands of<br>years, jade has been more highly prized in Asia than any other gemstone. It<br>represents harmony, balance and protection, and is thought to bring good luck to<br>the wearer.

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10.5" tall x 5.25" wide. No cracks, chips, or restorations. Minimal wear to<br>Gilding.

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4.25" tall x 3.5" wide with no cracks or chips, no loss of enamel or other issues. Some wear to Gilding on rim. Guaranteed circa late 19th century. Selling both for one price. Tw98

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. c1950's Native American stamped sterling snake eye turquoise cuff bracelet.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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3 5/8" tall x 2.75" wide with no cracks or chips, no loss of enamel or other<br>issues. Guaranteed circa late 19th century. Selling both for one price.<br><br>Burmese glass is a type of opaque colored art glass, shading from yellow to<br>pink. It is found in either the rare original "shiny" finish or the more common<br>"satin" finish. It is used for table glass and small, ornamental vases and<br>dressing table articles.<br><br>It was made in 1885 by the Mount Washington Glass Company of New Bedford,<br>Massachusetts, USA. Burmese glass found favor with Queen Victoria. From 1886,<br>the British company of Thomas Webb & Sons was licensed to produce the glass.<br>Their version, known as Queen's Burmeseware, which was used for tableware and<br>decorative glass, often with painted decoration. Burmese was also made after<br>1970 by the Fenton art glass company.<br><br>Burmese is a uranium glass. The formula to produce Burmese Glass contains<br>uranium oxide with tincture of gold added. The uranium oxide produced the<br>inherent soft yellow color of Burmese glass. Because of the added gold, the<br>characteristic pink blush of color of Burmese was fashioned by re-heating the<br>object in the furnace. The length of time in the furnace will determine the<br>intensity of the color. Strangely, if the object is subjected to the heat again,<br>it will return to the original yellow color

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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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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought a collection, the collectors are no longer with us so I'm having a difficult time with it but I'm sure it's all old. I probably won't list it all at once, but it's all pre Columbian and guaranteed to be so. I won't lie about regions or centuries because I don't know all that and don't have time to become an expert. Selling 7 pieces, largest piece is 3.5" the whistle works but has an old repair. Seems to be some ancient chips.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought<br>a collection, the collectors are no longer with us so I'm having a difficult<br>time with it but I'm sure it's all old. I probably won't list it all at once,<br>but it's all pre Columbian and guaranteed to be so. I won't lie about regions or<br>centuries because I don't know all that and don't have time to become an expert.<br><br>Selling 4 pieces, they're all four very heavy like store, but appear to be made<br>from clay. The larger 5" head appears intact, the other pieces seem to be<br>missing limbs possibly.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery. I bought<br>a collection, the collectors are no longer with us so I'm having a difficult<br>time with it but I'm sure it's all old. I probably won't list it all at once,<br>but it's all pre Columbian and guaranteed to be so. I won't lie about regions or<br>centuries because I don't know all that and don't have time to become an expert.<br><br>Selling 4 pieces one pipe or whistle looks to have old chips and possibly be<br>missing some feet. One face appears to be a shard, another face effigy, and some<br>sort of funnel or incense cover. Largest piece is 3 7/8"

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Like new condition with no cracks, chips, or scratches. It has good color and strong molding. 9" wide x 3" deep.

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Heavy Vintage Sterling Flower brooch 2 3/8" 31.3 grams.

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Vintage Southwestern sterling turquoise howlite clip-on earrings. Great looking pair of earrings, I believe the stones are Howlite. 12.6 grams, no issues strong functional clips.

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Guaranteed 100% 30 day guarantee to be authentic pre Columbian pottery or art. I<br>bought a collection, the collectors are no longer with us so I'm having a<br>difficult time with it but I'm sure it's all old. I probably won't list it all<br>at once, but it's all pre Columbian and guaranteed to be so. I won't lie about<br>regions or centuries because I don't know all that and don't have time to become<br>an expert. I'm going to try to pass on what I would pay to a good auction house<br>to you.<br><br>This piece is 8.5" tall with base x 3 3/8" wide without base. It has a no<br>brainer patina and was mounted on the metal base at a later date for display.

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Royal doulton Lady, beautiful. Great painting, nice old one. No cracks, chips, or crazing. 7.5" tall x 5" wide.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. OP Lag Zuni Sterling Modernistic Cuff Bracelet with Onyx. No scratches on Onyx. Great looking cuff with no issues, fits up to a 7" wrist.. The stone is 1.25" x 7/8".

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No damage whatsoever 6" tall. Rundskuedag is a Danish folk holiday during which everyone does things backwards or upside down.  I have heard it translated as "Upside Down Day" but I often think of it as "Skewed 'Round Day" (a transliteration of Rund-skue-dag).  Typically, bosses join the workers and one of the workers becomes the boss, and everybody has a good time doing things differently for one day of the year.  Street entertainment is prevalent, and special events and sales are held to raise money for charity.  Royal Copenhagen issued this series of vases as souvenirs of the day, with the proceeds going to charity.  (Anyone with Danish ancestry who would like to expand or correct this description, please contact me!) The first Rundskuedagen vase was produced in 1910, and  they continued every year through at least 1942. They were made in many shapes and sizes, often with a scene of a Copenhagen landmark on the vase, and always with the inscription RUNDSKUEDAG  (or RUNDSKUEDAGEN) and the date.  The designs are first molded into vase, and then handpainted, mostly in cobalt blue, in the same manner as Christmas plates.  Some years are highlighted with additional colors.

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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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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Tana Acton Woven Sterling wire agate cuff bracelet. Estate piece likely never<br>worn, thoroughly cleaned by me. Tube on end says Acton on one side, Sterling on<br>another. I believe this to be one of her earlier pieces.<br><br>Tana Acton has lived a life focused on creative and artistic expression.<br>She was born in Birmingham, Michigan, to Cranbrook Art School parents and<br>schooled at home and throughout the U.S. and abroad. In Florence, Italy, she<br>studied with Tomaso after studying silversmithing in Haystack's high school<br>program with Glenda Arentzen. Later, Tana earned an Antioch College BFA in<br>painting and completed the Parsons School of Design Fashion Design program.<br><br>Both as an artist and entrepreneur, she started with craft fairs at the age of<br>16. Tana then progressed to graphic artist, dance, choreography, painting, and<br>eventually fashion design for some of New York's leading knitwear and house-ware<br>companies.<br>Through her unique perspective as designer/choreographer, she combines air,<br>movement, and light to create pieces that are at once delicate and yet solid.<br>Tana's jewelry line is contemporary, lightweight, affordable, and can be worn<br>casually or dressed up. Her work is featured in fine craft galleries, museum<br>stores, and boutiques throughout the U.S.<br><br>Technique<br>Each piece of fine art jewelry by Tana Acton is created from a single "thread"<br>of precious metal, either sterling silver, 12k gold-filled, or copper.<br><br>The filament is wrapped precisely and tautly on its frame structure or "loom" in<br>a classic textile technique, translated in metal. The pieces may or may not have<br>a kinetic element captured in the structure or riding on the crossing wires. The<br>fabric created has a faceted effect from the light finding each individual<br>crossing, yet leaving space and air to breathe through each piece.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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Measures 7.5" wide at top x 16.75" tall. Guaranteed right around 110-130 years<br>old and wonderful. No cracks or chips, or excessive wear to enamel. One small<br>nick on inside of the base rim. Some wear to Gilding on rim and foot. This piece<br>is the deepest cranberry I have ever seen. Ruby with a hint of cranberry.

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Measures 7.25" wide with handle x 9.75" tall. Guaranteed right around 110-130<br>years old and wonderful. No cracks or chips, or wear to enamel.<br>Tw98

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

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Margot De Taxco Sterling silver enamel bracelet. No issues, no damage to enamel.<br><br>Margot Van Voorhies was born in 1896 in San Francisco, California. By the time<br>she left her native country for good, she had survived the death of her father<br>in 1903, the San Francisco Earthquake in 1906, the loss of her mother at the<br>hands of a er in 1931 and the end of her first marriage in 1936.<br><br>Fortunately, a Mexican vacation changed the life of Margot Van Voorhies in ways<br>she could never have imagined. In 1937, forty-one-year-old divorcée Margot Van<br>Voorhies left San Francisco on a trip to Mexico City. Fate threw her into the<br>path of Don Antonio Castillo, who took her to Taxco, a Mexican hotbed for the<br>design, crafting, and production of silver objects, in particular jewelry and<br>housewares.<br><br>Soon, Castillo would become Margot’s second husband. At the time, Castillo was<br>working for William Spratling, a pioneer in Mexican silversmithing. He brought<br>Margot into the business as a designer, helping her to transform her paper<br>creations into three-dimensional forms in silver. In 1939, the pair, along with<br>other members of Castillo’s family, opened shop as Los Castillo Taller [Taller<br>is Spanish for “Workshop”], with Margot as the top designer.<br><br>After ten years, the marriage between Castillo and Van Voorhies dissolved, as<br>did their professional association. Margot went on to open her own shop in 1948,<br>taking the name Margot de Taxco, by which she is best known today. Seven years<br>later, enamel was added to many of her pieces, and this is where Margot found<br>her legacy.<br><br>At the peak of her career, Margot, who designed each piece herself, had two<br>dozen silversmiths and a dozen enamellists in her employ to execute her vision.<br>The men performed the duties as silversmiths; the women did the enamel work,<br>using tiny brushes to bring the watercolor drawings to life. To ensure the<br>accurate rendering of her jewelry designs, she compiled a book of instructions<br>and drawings, detailing the construction and finishing of each. Margot attracted<br>talented craftsmen who later went on to cement their own reputations, such as<br>Sigi Pineda, Miguel Melendez, and Melecio Rodriguez.<br><br>Many contemporary Hollywood celebrities were clients of Margot, including John<br>Wayne and Lana Turner, who visited her shop every year.<br><br>Tragedy struck in the form of a fire in 1960. Forced to move her studio, she<br>never again regained her prior success, and the business folded in 1974. Margot<br>granted several of the silversmiths in her employ permission to use her molds to<br>create pieces on their own, in return for debt forgiveness. As a result, many of<br>Margot’s pieces were re-created by silversmiths such as Jaimie Quiroz and<br>Geronimo Fuentes, bearing their hallmark rather than hers.<br><br>Margot passed away in 1985. But her talent as a designer and her influence as an<br>artist have continued to gain recognition since the time of her death.<br><br>Margot’s shop produced some repousse silver (a technique where a raised or<br>relief design is hammered in from the reverse side of the piece). But she is<br>best known for her champlevé enamel work. Champlevé is created by carving,<br>etching, striking, or casting troughs or cells into the surface of a piece and<br>filling it with vitreous enamel. In Margot’s jewelry, the designs were<br>die-struck, a process that was detailed and critical to the final product.<br><br>Margot produced many suites that included necklaces, brooches, bracelets, and<br>earrings, as well as convertible jewelry. Margot de Taxco jewelry is recognized<br>for its elegance, femininity, and variety.<br><br>There were many areas of influence that can be found in Margot’s work. Her fish<br>and wave motifs celebrated her love of Japanese art. The ornate swirls and<br>floral motifs were reminiscent of the Art Nouveau style. Mischievous<br>pre-Columbian figures were a recurring theme. Art Deco style ballerinas struck<br>graceful poses. Margot was also taken with Egyptian motifs and Mexican crafts.<br><br>Margot de Taxco pieces are distinguished by the stamp that includes her name,<br>Eagle 16 (or Eagle 1, for her earlier works), along with a production number.<br>Issued by the government, the eagle stamp was a way to identify the<br>manufacturer.

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Plaque measures 3" frame measures 6"" no damage of any kind to porcelain, frame<br>has small spot that could easily be touched up with a gold paint pen or<br>something similar. Circa mid 19th century. Hand Painted.

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Retro Sterling silver hoop earrings. 2 pair of high quality hinged earrings, stones untested, both pairs fully functional with very secure clips. Selling both pairs for one price 1 1/8" tall. 37.2 grams total weight.

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sz 9.5 Vintage Native American sterling high grade turquoise ring. High quality<br>ring with high grade natural turquoise from the 40's or 50's. Stone is stable in<br>setting with slight damage to one side. 7.9 grams. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Size 9 Ring.

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950 Silver Baroque pearl Czechoslovakian crystal necklace. Marked and tested 95%<br>silver high quality art glass prisms and authentic baroque pearls. 18" long 76.1<br>grams, clean estate fresh piece with no issues.

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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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5" tall x 5.25" minimal loss to floral and leaf decoration. No restorations, cracks, or chips other than applied florals. Mirror is well over 100 years old and has spots on it. No identifying marks other than I believe a 14 scratches on the base.

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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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4.5" long x 1 7/8" tall with no cracks, chips, or restorations. B7

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c1990 French Philippe Ferrandis Paris gold-tone runway necklace and clip-on<br>earrings. Amazing retro over the top set clean and ready to wear, estate fresh<br>from a multimillion dollar jewelry/clothing collection in which nothing could<br>have been worn but a few times. No damage or detectable wear. Earrings 3.5" tall<br>x 2" wide with strong springs on the clips. Necklace 20" long with no issues.<br><br>Guaranteed Late 80's-90's authentic set with no issues.<br><br>anderasbag

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Not 100% sure whether it's Dresden or Capodimonte. It's very nice, circa early 20th century maybe older, estate fresh. 7.5" tall with three fingers missing, I could find no damage to applied florals. No restorations or cracks.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Vintage Native American sterling silver rope style cuff bracelet.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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Total weight 10.6 pounds. 19.5" total height, the flawless tray is 10.75" wide.<br>The cameo glass vase has one small chip on the inside rim that's not at all<br>noticeable when displayed. A few chips on prisms. The holder is immaculate, no<br>scratches, no bends, appears unused even though it's over 100 years old.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. c1930's Heavy Stamped Navajo silver and turquoise cuff bracelet. Really nice<br>intricate stampwork and interestingly enough it had whirling logs stamped on<br>each side and I would be that they were obliterated during ww2 or around that<br>time as they were very crudely obliterated and I can tell a natural patina from<br>a very long time of being worn has occured over time. Fits up to a 6.5" wrist.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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Tray is 16.5" x10", plates are 9.5" Platter has a very tight small hairline<br>about 1" long.<br><br>Extremely clean set with no other cracks, chips, or restorations guaranteed.<br>Guaranteed late 19th century, hard to find one piece much less the entire set<br>especially in this condition.

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13.25"wide x 7.5" tall. No cracks, chips, or restorations. Incredible piece with<br>hand painted Gilding and decoration. Guaranteed circa 1830's.<br>Decoration possibly by Joseph Bancroft. In 1808 the brothers John and William<br>Ridgway jointed their father Job's factory at Cauldon Place, Hanley in<br>Staffordshire and in the same year the production of bone china was added to<br>that of earthenwares. The early Ridgway porcelains were in Spode style, with<br>quality, scenic bat-prints and some colourful designs in "London"- shape<br>tea-wares. In 1830 the two brothers separated. William Ridgway concentrated on<br>the production of earthenwares. John continued the Cauldon Place Works and was<br>later appointed Potter of Queen Victoria, making some magnificently decorated<br>porcelains. Around 1833 five hundred people were employed at the pottery, and<br>many talented artists were engaged in production of fine painted pieces, some of<br>which are believed to be the work of George Speight and Daniel Lucas, known for<br>their landscape and figure painting. Thomas Brentnall, George Hancock, and<br>Joseph Bancroft have also been employed, specializing in flower painting. John<br>Ridgway exhibited at the Great Exhibition of 1851 and their catalogue shows the<br>great variety and quality of the porcelain produced by the factory at this time.<br>In 1856 John Ridgway & Co. gave way to Ridgway, Bates & Co., to be followed on<br>John's retirement in 1858 by Bates, Brown-Westhead, Moore & Co and than from<br>December 1861 by Brown-Westhead, More & Co., a firm that continued until 1904.

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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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Very hard to find character jug. Measures 4.25" tall with No cracks, chips, or crazing.

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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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Great early Inkwell with no cracks, chips, restorations. Some wear to Dore on the bronze. All hand decorated. 3.5" tall x 3.75" wide.

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Mid Century Modernist sterling and wood cufflinks. Both marked sterling with no<br>other markings, great pair of possibly one of kind cufflinks from the third<br>quarter of the 20th century.

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Vintage Native American sterling/turquoise ring. Nice old ring from the second<br>quarter of the 20th century. sz 9.5 24.8 grams.

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Great early Inkwell with no cracks, chips, restorations. Some wear to Gilding. All hand decorated. 3.5" tall x 3.25" wide.

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sz 8.75 vintage Native American sterling/turquoise ring. Nice old ring circa mid<br>20th century, unmarked, tested sterling. Most rings are shown on a a ring sizer in the pictures and the size is typically given at the beginning of the title and description. Women's Size 8 Ring.

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