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70‘s-80‘s Navajo sterling turquoise and coral bolo tie 14.5" long with no issues. Weight and measurements in pics.

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14.5" Retro ATI Mexico Braided Sterling silver collar choker. This is sturdy yet flexible/adjustable. It flexes to put it on and could be reshaped to be a little larger if necessary. It's great. 49.1 grams, no issues.

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14.75 英寸中国康熙（1661-1722 年）粉彩充电器。1​​4.75 英寸宽 x 3 英寸深，边缘周围和足缘都有小碎片和釉料。一条紧密而稳定的发际线实际上只在最后底部所示的反面可见标签上的图片。没有大的裂缝或修复。稳定且显示效果非常好。

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14k 金 3.9 克拉托帕石/.15 克拉钻石吊坠。漂亮的复古庄园吊坠，采用天然宝石，无标记（已测试）14k 金。 5/8 英寸高，3.4 克，无损坏或问题。

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14k 金和钻石拥抱圈耳环。这些耳环中有相当多大小合适的钻石，远超过 1 克拉，但实际上不可能以这种方式进行精确测量。经过测试并保证采用实心 14k 金和真钻，高 7/8，总重量 5.9 克。

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14K 金和碧玉串珠项链。经过标记和测试的 14k 金扣和珠子。 24寸长，没问题。

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14k Gold Automatic 1968 Rose Bowl Lord Elgin Pocket watch. Working order, 33mm wide without crown, solid 14k gold, good condition with some overall wear. 25.81 grams. <br><br>On the silver stick dial, there are gold indices and hands as well as a beautiful rose and the words 'Rose Bowl 1968'. Played in Pasadena, California, the USC Trojans defeated the Indiana Hoosiers in the 1968 Rose Bowl 14 to 3. This 33mm 14K yellow gold case is engraved on the back with the original owner's name, George Wilson, and the two teams that played in the 1968 Rose Bowl.

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14k 金钻石吊坠，尺寸不错的天然钻石，手边没有卡尺，但大约 0.5-1 克拉。 17 英寸项链，5/8 英寸高吊坠。均为 14k 金，总计 3.2 克

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14k 金蓝宝石和钻石耳环。约 2.6 克拉天然不透明白色蓝宝石和 0.25 克拉天然白色钻石。耳环经过测试，保证为实心 14k 金，背面有标记。 7/8 英寸高 x 3/8 英寸宽。总重3.4克

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14k 金、钻石、中国雕刻湖北蜘蛛网绿松石吊坠。 1.25 英寸无吊环 x 0.8 英寸，经过标记和测试的 14k 金，经过测试的天然白钻石，以及高品质湖北绿松石 5 克。

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14k High Grade spiderweb Carico Lake turquoise earrings AC. Weight and measurements in pics. Solid 14k gold with no issues, likely Native American made from the last quarter of the 20th century. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women‘s wrist.

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14k Supersmith David Rosales 美洲原住民 14 kt 金，带碧玉、虎眼石和黑玉图案。来自“Native Earth”系列，零售价为 3900 美元。轻微磨损，无损坏，对宝石没有磨损，对黄金有轻微预期磨损，主要发生在内部。 Supersmith Inc，也被称为 David Rosales Designs“当代设计，传统制造”，位于新墨西哥州盖洛普，由来自纳瓦霍和祖尼部落的几位极其才华横溢的美国原住民工匠组成。 1997 年，David Rosales 与他的表弟 John Delgado 一起创立了 Supersmith Inc。最初是他车库里的一个小店，现已发展成为西南部提供最优质的当代美洲原住民珠宝的公司之一。 大卫在新墨西哥州盖洛普出生和长大，接受了机械师培训，并有机会接受一家珠宝公司的管理工作，这彻底改变了他的生活。在发现自己的创造力和设计能力后，并与他的表弟约翰·德尔加多 (John Delgado) 合作，Supersmith Inc 诞生了。他们最出名的是美丽、干净的镶嵌工艺和令人惊叹的色彩组合，他们的新口号是“当代设计，传统制造”。艺术家们在旧库尔斯仓库工作，在三个不同的部门工作，包括失蜡铸造部门、镶嵌部门和精加工部门。最终的结果是各个年龄段才华横溢的艺术家手工制作的美丽作品之一。 David 的女儿 Sheree 秉承家族传统，于 2016 年加入团队。如今，Supersmith 拥有约 40 名员工，他们继续生产手工制作的当代珠宝，其设计和颜色组合不断发展，以跟上当前的趋势和流行趋势。 Supersmith 致力于通过培训和鼓励年轻一代艺术家来保持珠宝制作的活力。所有贵金属均经过测试和保证，任何被称为银或纯银的美洲原住民珠宝均保证至少含有 90%（硬币）银，甚至可能更高含量。大多数袖口手镯都是在 6 英寸的女性手腕上拍摄的，并附有一张照片，显示金属尖端与卷尺上的数字相交处的内周长。

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14k 白金蓝色托帕石和钻石耳环。约 5.6 克拉托普兹 0.05 克拉钻石，均经过标记和测试 14k 金。 4.1克，没问题。

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14k/祖母绿镶嵌阿托查沉船复制品硬币套装。耳环高 1 5/8 英寸，吊坠高 1 5/8 英寸 x 宽 1.25 英寸。所有三件均带有经过标记和测试的 14k 金镶边。这是一套全新的庄园套装，我假设它们是由阿托查银制成的硬币复制品该棒于 1986 年从基韦斯特海岸附近的 Nuestra Señora de Atocha 号沉船残骸中打捞出来，其中大多数都是这种情况。总重 12.5 克。

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Vintage Italian designer clamper bracelet from the late 20th century very clean<br>with strong spring. Marked and tested 14k gold and sterling 36 grams<br>approximately 7" inside diameter.

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14k/sterling modernist southwestern earrings 1 1/8" tall, amazing quality, unsure of artisan. 6.4 grams. All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Most cuff bracelets are shown photographed on a 6" woman's wrist and will include a photo showing the inside circumference where the metal tip meets the number on the tape measure.

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14k/Sterling Retired James Avery Modernist necklace Approx 16" long, all the middle links are 14k gold, two bottom links close to the bottom v are 14k. Clean with no issues.Avery founded his company in 1954, initially crafting jewelry in a two-car<br>garage in Kerrville, Texas, with just $250 and a desire to create lasting value<br>for others. Mr. Avery believed that meaning is what makes life more beautiful<br>and this concept continues to drive how we design jewelry to this day. In 2007,<br>53 years after he first founded the company, James Avery officially stepped down<br>as CEO and passed the reins on to his sons, Chris and Paul.Mr. Avery’s mission<br>was simple: to create jewelry with meaning—both for himself and others. With a<br>focus on creating straightforward designs and a core belief of integrity in all<br>things, his jewelry became more than precious metals and gemstones. Guests came<br>to him with their stories—their special moments—so he could craft them into<br>pieces they would wear with pride for a lifetime. From writing letters to<br>greeting Customers, Mr. Avery prioritized developing lasting relationships with<br>each person who connected with his designs.

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14k/sterling Vintage Southwestern hand engraved belt buckle. 2" x 1 3/8", fits a 1" belt, 27.3 grams...my guess is 25% of the weight is 14k gold. That is a thick 3d solid 14k gold bird on the front center. Marked and tested sterling and 14k gold.

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14mm 24" Sterling beaded necklace, Mexico. No damage, retro c1980's. I can polish upon request or leave oxidized.anderas

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14mm-15mm Lagos Caviar 18k gold and Sterling bracelet. Guaranteed authentic, top quality Lagos Caviar, solid 18k gold beads and logo mounted a thick high quality sterling silver bracelet. 107 grams total weight. No issues, preowned with little wear.

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15 个 1950 年代至 1960 年代的中国餐厅杯垫，为 Astrup Company Walker China 4 英寸。出售所有 15 2 个大西洋城市，除此之外全部不同。这些都是全新的，没有裂纹、缺口、划痕、裂纹或污渍。

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杯子高 3 英寸，碟子宽 5.75 英寸。精美的复古套装，图案较难找到。无裂纹、缺口或污渍。对每件作品都很着迷，我相信它是故意这样制作的。

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15" 1940‘s William Spratling sterling beaded necklace. Weight and measurements in pics. Who Was William Spratling? William Spratling was born in 1900 in Sonyea, New York. His father was well respected and widely known for his study and writings concerning epilepsy. After the death of both Spratling‘s mother and sister, Wilhelmina, in 1910, Spratling‘s father moved temporarily to his father‘s Alabama home (known as Roamer‘s Roost) with sons William and David as well as older daughter, Lucile. At that time, the three Spratling children became wards of their grandfather. By the end of 1912, the family had moved once more and the children were separated; each went to live with with various aunts and uncles. In 1917 William Spratling attended Auburn University and a year or two later, during his stay at Auburn served as an instructor in architecture. Spratling moved to New Orleans in 1921 where he was an Associate Professor of Architecture at Tulane University. During the following nine years, Spratling published articles in Scribners Magazine, Journal of the A.I.A., Architecture Record, and many other architecture and travel publications. He became an active part of the New Orleans literary colony during those years, and his frequent companions were Natalie Scott, Sherwood Anderson, Oliver La Farge, Frans Blom, John Dos Passos and William Faulkner. Faulkner lived with Spratling for a time, and together they wrote and published Sherwood Anderson and Other Famous Creoles in 1926. 1926 was also when Spratling visited Mexico for the first time. He returned for summers over the next several years, and in 1929, moved to Mexico. Spratling quickly was introduced to and became a welcome participant in the artistic circles of Mexico. His activities in promoting the art of Diego Rivera among New York galleries led to his participation in the first exhibition of Mexican arts held in the United States. The exhibit was funded by the Carnegie Institute and opened at the Metropolitan Museum of Art in New York. Spratling assisted in assembling the exhibit and also lent a number of his own pieces. During this same period, Spratling was working on drawings for the expanding Morrow home in Cuernavaca. Many of these drawings were included in the book written by Elizabeth Morrow, Casa Mañana. Dwight Morrow, the US Ambassador to Mexico, suggested to Spratling in 1931 that Taxco had been the site of silver mines for centuries, but Taxco had never been considered a location where jewelry and objects of silver were designed and made. Subsequently, Spratling hired an experienced goldsmith from Iguala who moved to Taxco and created silver jewelry of Spratlings design. Other craftsmen joined Spratling‘s shop and produced tin ware, copper items, textiles and furniture - all designed by Spratling. These earliest designs were based on pre-Columbian motifs as well as simple themes utilizing rope borders, strap designs and other such basic ideas. The enterprise grew far beyond Spratlings expectations! Because he had created an apprentice system of training young silversmiths many new talented artisans had an opportunity to develop their craft. Over time many of these artisans opened shops of their own all with Spratlings support. During the Second World War, U.S. department stores were unable to import merchandise from Europe, and many retail stores purchased luxury goods in Mexico. In order to meet this dramatic increase in demand, Spratling opened his company to private investors, and by the end of 1944 had lost control of his company. Early in 1946, Spratling y Artesanos was out of business. By this time, Spratling had moved to a ranch he had earlier purchased south of Taxco at Taxco-el-Viejo. He never again lived within the town of Taxco. In 1946, he was asked by the U.S. Department of the Interior to develop a plan for development of native crafts in Alaska, and in 1949, a group of 7 young men from Alaska arrived at Spratling‘s ranch at Taxco-el-Viejo and began their training. Spratling had designed and produced 200 models for that effort, but after the men completed their training and returned to Alaska, the program languished primarily due to lack of government funding. The actual benefits of the program (both for Alaskans and for Spratling) were never realized. The time, however, that Spratling spent studying Alaskan native cultures and visiting all parts of Alaska created great impact as seen in Spratling‘s later silver designs. His design ethic in 1949 was dramatically different from those designs of the 1930s until mid 1940. He also used new materials in combination with silver for many of these later designs. Spratling continued to rebuild his business and had silversmiths fabricating his jewelry and object designs at his ranch. His designs were also produced by the Conquistador Company in Mexico City for a couple of years. Spratling published More Human Than Divine in 1960 and his archaeological interests not only continued but by the early 1960s seemed to take precedence over the creation of new silver designs. He donated collections of his pre-Columbian materials to the National University of Mexico and the National Museum of Anthropology in Mexico City. Spratling has been called by many "a Renaissance Man." Throughout Mexico he is acknowledged as "The Father of Mexican Silver." Certainly the town of Taxco and its economy would be vastly different without the initiative and creativity of this man. He complemented its valuable historic past with a new vitality and spirit which recognized the importance of the indigenous culture. The artistic and economic foundation he established continues to flourish today. William Spratling was killed on August 7, 1967 in an automobile accident just outside Taxco.

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15" Artie Yellowhorse Navajo Sterling collar necklace. 13" end to end with 2" flexible gap, no issues. Very sturdy but flexible enough when necessary. All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. I rarely use the word "sterling" when referring to older Native American silver or really any older silver jewelry as silver contents vary and "sterling" is 92.5% silver. No older jewelry is going to be exactly 92.5% silver, some a little over, some a little under. It wasn‘t an exact thing with handmade jewelry. I‘ve seen thousands of pieces xrf‘d to prove this. Bracelets are photographed on a 6" women‘s wrist.

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15 英寸 c1850 年旧巴黎瓷地幔花瓶一对。高 15 英寸 x 边缘宽 7.25 英寸。一对非常坚固的花瓶，镀金磨损极小。粉红色顶部的那个有两个缺口，一个位于顶部边缘的左侧，另一个位于顶部边缘的左侧。到同一侧的一片叶子。购买时我错过了这些，因为它们在像这样的大花瓶上并不引人注目，尤其是当像地幔一样高高地展示时。另一个没有缺口、裂缝或修复。书架

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15 英寸罗伯特·艾克霍特重型抽象工作室艺术玻璃中心装饰碗。15 英寸宽，无损坏或可检测到的磨损。 Robert Eickholt 是一位著名的玻璃艺术家，40 多年来一直致力于创造迷人的吹制玻璃。 1978 年，罗伯特在加利福尼亚州伯克利学习玻璃吹制技术后返回家乡俄亥俄州哥伦布，随后创立了 Eickholt Glass。回家后，他继续在俄亥俄州立大学和哥伦布艺术与设计学院学习。自成立以来，该工作室已制作了多种类型的精美艺术玻璃制品，例如镇纸、花瓶、鸡蛋、雕塑和香水瓶。每一件作品都是一次制作而成，并且完全独一无二。艾克霍特玻璃以其独特的设计而闻名，其中融入了金、银等贵金属以及钴和铜等稀有氧化物。他们美丽的艺术玻璃为他们赢得了世界各地的赞誉。 TW243

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15.25 英寸巴卡拉海王星醒酒器 c1990 年。5.5 英寸宽 x 15.25 英寸高。无裂纹、缺口、划痕、凹痕或硬水。此图案于 1988 年至 1993 年生产，现已退役。台湾254

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15.25 英寸 Longchamp 法国 Majolica 芦笋拼盘 9.25 英寸深 x 3.5 英寸高。没有裂纹、碎裂、修复或釉片，如预期的有些开裂。我有 6 个盘子和一个单独列出的较大的碗。

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15.4 英寸 c1860 梅森花瓶蛇形手柄手绘，重金。手柄到手柄宽 9.5 英寸。无裂纹、缺口或修复。近乎完美的黄金很少见，但即使有，凸起区域的黄金通常会磨损得很厉害。

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18K 黄金和纯银 David Yurman Figaro 链条项链，配有黑色缟玛瑙刻面珠子和栓扣。二手状况非常好，没有损坏或可检测到的磨损。 39.7 克，7 毫米宽。

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15.5 英寸复古中国景泰蓝鸟和蝴蝶花瓶。漂亮、高品质的作品。产自 20 世纪第三季度，没有损坏，裸露黄铜有轻微氧化。没有识别标记。大件 15.5 英寸高 x 7.25 英寸宽。书架

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保证 1800 年代初至中期。 10 个碟子和 5 个杯子。一个碟子有鱼尾纹，但既然有额外的东西，那应该不是问题。有些碎片非常浅黄，没有明显的深色污渍。除了一个鱼尾纹外，没有任何裂缝、缺口或修复。这些都是 100% 手工装饰，需要仔细检查才能看到图案的细微变化。 5.75 英寸碟子 x 2.5 英寸高杯子。

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15 件套 c1900 哈维兰利摩日游戏套装新艺术风格宝石轮圈手绘转印。我包括一个带盖子的酱船，图片中未显示，这将是一个惊喜，因为它具有相同的宝石边框和漂亮的带有金色装饰的篮子手柄。酱船的盖子上有一块修复过的缺口。该套装的其余部分没有其他裂缝、缺口或修复体。有一些非常轻微的金色磨损，主要是在最外侧边缘的盘片上，在像这一套精美而独特的套装上，这些磨损都不明显。总共 13 个盘子我在下面列出了每种款式的数量，从单个盘子显示的第一张图片开始，到最后一张结束。 3 只鹬、3 只野鸡、2 只走鹃、2 只鸽子、2 只鹌鹑、1 只绿头鸭。一个 17.75" x 12.25" 拼盘，上面有多个猎鸟。这些年来我买过很多游戏套装，这是我买过的最好的一款，它可以与大多数现代装饰完美融合，这套游戏适合任何地方。 B46

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15 世纪明中国瓷碗，蓝色釉下装饰，宽 5 英寸，在 1984 年评估中详细描述，该评估将包括在内，并在附图中包含一张照片。乔·安·亚当斯 (Jo Ann Adams) 是一位非常受人尊敬、彻底且知识渊博的评估师，专门从事亚洲古董。如果您正在阅读这篇文章，您很可能知道，自这些评估完成以来，中国瓷器是过去 38 年来被证明是极好的投资的古董/收藏品领域中的少数之一。 顶部边缘有两个小缺口，底部边缘有一个。一些裂纹和轻微污渍，顶部边缘上有几条紧线，但两侧都没有延伸太远，没有修复、裂缝或大缺口。书架

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15 世纪泰国 Sawankhalok 青瓷罐罐出售 15 世纪或更早的 2 英寸高，没有明显损坏，没有裂纹，没有修复。 B31

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15 世纪泰国 Sawankhalok 青瓷罐罐出售 15 世纪或更早的 2 3/8 英寸高，没有明显损坏，未上釉的足缘上有微小缺口，带手柄的罐罐顶部边缘和一个手柄上有非常古老的修复。没有裂纹。 b31

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15 世纪泰国 Sawankhalok 青瓷罐罐出售 15 世纪或更早的 2.5 英寸高罐罐，底部有明显的烧制缺陷和相关缺口。没有裂纹或修复。 B31

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15 世纪泰国 Sawankhalok 青瓷罐罐出售 15 世纪或更早的 2 5/8 英寸高，无明显损坏，无釉足缘上有微小缺口，无裂纹，无修复。 B31

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15 世纪泰国 Sawankhalok 青瓷高瓶或花瓶，带雕刻装饰 15 世纪或更早 4 英寸高，单手柄看起来经过非常古老的修复，顶部边缘有微小缺口，没有裂纹或其他问题。 b31

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15 世纪泰国 Sawankhalok 青瓷罐罐出售 15 世纪或更早的 2 英寸高，最宽 2.5 英寸。装饰过的一只脚缘上有微小的缺口，没有其他裂缝、缺口或修复体。 B31

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15 世纪泰国 Sawankhalok 窑青瓷罐。 3.75 英寸高 x 4.5 英寸宽，红色低火粘土，顶部有一些烧制釉料缺陷，可能是由于窑炉过度堆积造成的。 B31

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15 世纪泰国 Sawankhalok 窑带盖调味罐。 2 3/8 英寸高 x 2.5 英寸宽，显示轻微釉面磨损。无裂纹、缺口或修复。书架

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15 世纪泰国 Sawankhalok 窑带盖调味罐。非常早期的 15 世纪泰国陶器，由一位现年 96 岁的女士在 20 世纪中叶收藏。我很快就会出售她的更多物品。 3 英寸高 x 3 5/8 英寸宽 无裂纹、缺口或修复。亚洲货架

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15 世纪泰国 Sawankhalok 窑带盖调味罐。非常早期的 15 世纪泰国陶器，由一位现年 96 岁的女士在 20 世纪中叶收藏。我很快就会出售她的更多物品。 3.25 英寸高 x 4 3/8 英寸宽 盖子顶部有一个缺口，盖子和底座的边缘内部有一些粗糙度，这可能是几个世纪使用造成的烧制缺陷和轻微磨损的结合。 b31

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15 世纪泰国 Sawankhalok 窑带盖调味罐。非常早期的 15 世纪泰国陶器，由一位现年 96 岁的女士在 20 世纪中叶收藏。我很快就会出售她的更多物品。 4 3/8 英寸高 x 4.5 英寸宽 一个修复的芯片和相关的稳定发际线显示在最后一张照片的左侧中心。无其他重大问题。亚洲货架

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15 世纪泰国 Sawankhalok 窑带盖调味罐。非常早期的 15 世纪泰国陶器，由一位现年 96 岁的女士在 20 世纪中叶收藏。我很快就会出售她的更多物品。 3 英寸高 x 3.75 英寸宽，无裂纹、缺口或修复。 TW129

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15/16 世纪早期印刷的圣经页，带有手工红字首字母缩写。来自大量宗教手稿收藏，装帧于 20 世纪第三季度。 10.75" x 8.75" 框架，8.5" x 6.25" 瞄准镜。画架

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15th/16th century Vellum Antiphonal leaf. This is on Vellum/hide. There are some tears but it‘s stable in the frame. For some weird reason there is clear tape on the back of the glass and a little on the front, possibly they taped the two panes together and over time the tape degraded a little, still it displays well. Slightly illuminated in the picture shown. 22.5" x 16" framed. The origins of liturgical music traditionally date back to St. Gregory the Great (d. 604), who was inspired by the Holy Dove to record the principles of ‘Gregorian‘ chant. The Gradual contained the musical parts of the Missal and was sung from the steps (gradus) of the altar. The Antiphoner contained the musical sections of the Breviary. These terms have become interchangeable in modern times. Because of their size and complexity, these manuscripts were still being handmade in the traditional way for centuries after the introduction of printing. They were boldly hand-written and illuminated on large sheets of sturdy vellum so that the entire choir could read from one book.

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15/16 世纪牛皮纸对歌叶。这是在牛皮纸/牛皮上。有一些泪水，但在框架中很稳定。由于某种奇怪的原因，玻璃背面有透明胶带，正面有一点，可能他们将两个玻璃贴在一起，随着时间的推移，胶带会稍微退化，但仍然显示良好。如图所示，略微照亮。 22.5 英寸 x 16 英寸带框。 礼拜音乐的起源传统上可以追溯到圣格列高利大帝（St. Gregory the Great，卒于 604 年），他受到圣鸽的启发，记录了“格列高利”圣歌的原则。渐进曲包含弥撒曲的音乐部分，并在祭坛的台阶（gradus）上演唱。 《对唱者》包含了《祈祷书》的音乐部分。这些术语在现代已经可以互换。由于其尺寸和复杂性，在印刷术引入后的几个世纪里，这些手稿仍在以传统方式手工制作。它们是大胆的手写和插图在大张坚固的羊皮纸上，以便整个合唱团可以从一本书中阅读。

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15/16 世纪牛皮纸对歌叶。这是在牛皮纸/牛皮上。有一些泪水，但在框架中很稳定。由于某种奇怪的原因，玻璃背面有透明胶带，可能是他们将两块玻璃粘在一起，随着时间的推移，胶带有点退化，但仍然显示良好。如图所示，略微照亮。 22.5 英寸 x 16 英寸带框。上面贴着这本和我单独提供的另一本的翻译。 礼拜音乐的起源传统上可以追溯到圣格列高利大帝（St. Gregory the Great，卒于 604 年），他受到圣鸽的启发，记录了“格列高利”圣歌的原则。渐进曲包含弥撒曲的音乐部分，并在祭坛的台阶（gradus）上演唱。 《对唱者》包含了《祈祷书》的音乐部分。这些术语在现代已经可以互换。由于其尺寸和复杂性，在印刷术引入后的几个世纪里，这些手稿仍在以传统方式手工制作。它们是大胆的手写和插图在大张坚固的羊皮纸上，以便整个合唱团可以从一本书中阅读。

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16 5/8 英寸高古董帕罗斯人像雕塑，穿着华丽服饰的女人，19 世纪，底座宽 8 英寸。底座边缘内有小缺口。无裂纹、其他缺口或修复体。大而重的一块。重 9 磅。 B&B 标记为菱形，顶部为 H，底部为 S。

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16 英寸 10 毫米 David Yurman 纯银/18k Figaro 链条。保证正品 David Yurman，经过标记和测试的 18k 金和纯银。52.7 克 无损坏或明显磨损。

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16 英寸 1920 年装饰艺术纯银项链。非常酷的项链，没有可检测到的标记，经过纯银测试。16 英寸长 62 克，可能是欧洲的。可能是可逆的。

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16 英寸 6 毫米 David Yurman 14k/纯小麦链项链。实心纯银，顶部有实心 14k 金带，没有问题。53.8 克，非常坚固，高品质项链。正品保证。安德拉斯

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16 英寸古董日本明治时期伊万里充电器。无裂纹、缺口或修复，19 世纪末。

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16 英寸 c1900 年 Wilhelm Schiller 奥地利珐琅花瓶 11.75 英寸宽，带手柄。 X 15 7/8" 高。无裂纹、缺口或修复。 Wilhelm Schiller 于 1829 年在波西米亚博登巴赫开始生产瓷器和陶器，并以 Schiller 和 Gerbing 的名义进行经营。 1885 年，该公司解散并更名为 Wilhelm Schiller and Son，并一直运营到第一次世界大战爆发。Schiller and Gerbing 公司是否生产陶器尚不得而知，但 Wilhelm Schiller and Son 公司显然是最出色的。波西米亚的陶器制造商数量众多。 包括席勒在内的波西米亚瓷器制造商使用的调色板比斯塔福德郡的同行柔和得多。许多席勒作品的背景是哑光灰褐色、浅灰色或绿松石色，带有各种棕色和黑色色调的釉面特征。内部通常采用绿松石色釉面。该公司的大部分产品反映了从传统维多利亚时代的陶器到装饰艺术风格的转变。最常见的席勒作品是装饰花瓶、花瓶、餐桌中心和水壶。目前尚无已知的席勒瓷器盘、碗或其他功能性餐具的例子。 Wilhelm Schiller and Sons 的珐琅器上刻有字母“WS&S”，该字母要么被压印，要么包含在凸起的漩涡花饰中。

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16 英寸 c1930 粉色切割凹陷玻璃灯。令人难以置信的灯底座宽 6 英寸，无裂纹、缺口或修复。有一些非常小的恙螨咬伤，这些孔是为绳子钻的，这是预料之中的，因为它不是平坦的表面，85 年前它可能有一个索环。灯和开关工作TW95

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16" Egyptian Revival Gold Filled Scarab Necklace carved stones. No issues, all hand carved various semi-precious stones.

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16" Georg Jensen 1 Art Deco Sterling Choker necklace 5/8" wide x 56 grams. No issues whatsoever.Georg Jensen, (born August 31, 1866, Raadvad, Denmark—died October 2, 1935,<br>Copenhagen), Danish silversmith and designer who achieved international<br>prominence for his commercial application of modern metal design. The simple<br>elegance of his works and their emphasis on fine craftsmanship, hallmarks of<br>Jensen’s products, are recognized around the world.<br><br>Jensen was apprenticed to a goldsmith at age 14. His artistic talents were<br>briefly focused on sculpture, but he returned to metalwork, primarily jewelry<br>and silver pieces, produced in the workshop he opened in Copenhagen in 1904.<br>Jensen exhibited his works at several major foreign exhibitions (winning a gold<br>medal at the Brussels Exhibition of 1910) and quickly built a reputation as an<br>outstanding and highly original silversmith. He moved to a larger workshop in<br>1912 and acquired his first factory building in 1919.<br><br>Jensen’s silverware achieved immediate popularity and commercial success. He<br>was, in fact, the first silver maker to realize a profit from the manufacture of<br>modern silver. Until Jensen’s time virtually all successful silverware producers<br>had relied on a standard repertory of popular traditional designs. Jensen,<br>however, found that the market for his sleek, simple pieces was larger than<br>anyone had predicted. His firm grew rapidly, expanding throughout Europe and<br>opening branches in London and New York City. On both continents Jensen’s work<br>set trends for contemporary tableware. He was among the first designers to<br>fashion steel—formerly considered fit only for low-quality, inexpensive<br>flatware—into handsome, serviceable cutlery.

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