Shelley Harebell Oleander Shape Creamer 3" tall x 4" handle to spout with no<br>cracks, chips, restorations, or stains.

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John Jones (American b. 1943) Native American Oil On Canvas Portrait. 8" x 10"<br>canvas 14.5" x 16.5" framed. No issues whatsoever with painting, frame has minor<br>wear but attractive.

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1910 Silverplate Inri Jesus On Cross Plaque Elmire Boucher 1870-1910 8.25" x 4" interesting item. Not sure what it's from, but it's 108 years old. S.M.G. Co. No wear to plating or dents.

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22" Etched Venetian Glass Centerpiece Blue Artist Signed 3" Deep. Speaks for<br>itself. Too big for me to photograph indoors. No cracks, chips, or scratches.

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2 Antique Blue Willow Gravy Boats Pearlware Staffordshire Transferware c.1840 6.5" long x 4" tall, and 5.75" long x 3 3/8" tall. Small one has tight hairline shown in pic, large one has two small glaze flakes on top rim. No other cracks, chips, or repairs. Extremely crisp transfer decoration. . Guaranteed circa early to mid 1800's. B8

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Christofle Folio Ice Bucket Geometric Design 5.5" tall x 6" wide without handles. Good condition with minor scratches that aren't a distraction and would polish out.

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Napoleon Bronze Statue c.1900 receipt from 1979 antique shop 9 3/8" tall base is 3 3/8" square. Guaranteed antique over 100 years old. No issues. 2.5 pounds b29

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Antique French pewter Sustenteur Medical Apothecary Jars for Sterilization both<br>6" tall x 5" wide. Both guaranteed 19th century.<br>I have found that this style of jar, called Sustenteur, was popular in France in<br>the late 18th century, and were created as a piece of medical equipment to help<br>heal stomach problems. They work as pressure cookers and they were used to<br>prepare either meat or vegetable broths, which were cooked in a hermetically<br>sealed pot for hours in a water bath, thus providing a germ-free broth for<br>people with delicate stomachs. There are three holes at the base of the pot.<br>When oxygen would escape form the boiling water, it made bubbles, and the holes<br>allowed the bubbles to escape, so the pot would not tip over. The handle at the<br>top of the pewter cap allowed the pot to be easily removed from the water bath<br>and carried. Given that they are air-tight, these sustenteurs were also used as<br>tobacco jars, tea caddies, or coffee containers.<br>Tw31

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Staffordshire prattware Pot Lid The Room in which Shakespeare Was Born 19th<br>century 4 3/8"<br><br>No cracks, chips, or restorations. Guaranteed circa mid 19th century. Fine<br>overall crazing 4 3/8" wide x 1" tall.

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Antique French Pill/trinket Box Enamel on Copper lid c.1920 1.5" wide. General expected overall wear, still functional and pretty. 100 years old.

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Antique De Grave, Short, & Fanner Portable Gold/Apothecary Scales c.1850. Scales have no issues, box is missing one side and could use some glue. De Grave, Short and Fanner of 59 St. Martin's-le-Grand Previously De Grave, Short and Co 1845 presumably William Fanner joined and the firm became De Grave, Short and Fanner[1] By 1851 William Fanner, scale maker, was living at 59 St Martins with his family[2] 1851 De Grave, Short and Fanner exhibited at the Great Exhibition 1857 Partnership dissolved. '...the Partnership heretofore subsisting between us the undersigned, Samuel Robinson Shortand William Fanner, lately carrying on business as Scale Makers, under the style or firm of De Grave, Short, and Fanner, at No. 59, Saint Martin's-Le-Grand, in the city of London, has this day been dissolved by mutual consent; and all debts due to or from the said late copartnership will be respectively received and paid by the said Samuel Robinson Short, by whom alone the said business will in future be carried on...'[3] 1863 Mention in bankruptcy proceedings of 'Samuel Robinson Short, of the firm of Degraves, Short, and Farmer, of St. Martin's-le-Grand, in the said city of London, Scale Manufacturers'[4] 1871 William Fanner died. From 1871 onwards the company was De Grave, Short and Co. Tw62

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British Porcelain Fruit Compote with Butterflies C.1850 9.5" x 3.5" no cracks, chips, or restorations. Near perfect gold, some wear and scratches on top. Very attractive. Hand painted, possibly over a transfer.

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Antique Staffordshire Figure Highlander Couple with Clock c.1870 14" x 9" wide.<br>Slight firing flaw near base. No cracks, chips, or restorations other than a<br>tight old line at the front base which gives it character, glaze flake on her<br>nose.

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12.75" Texas Studio Art Glass Vase Michael McDougal 7" wide No cracks, chips, scratches, or restorations. Inspired by nature and known for his sense of color and elegant whimsy, Glass artist Michael McDougal lives and works in the Texas Hill Country. He was introduced to glass by Jane Duryea, protégé of Robert Willson and went on to study at the Corning Museum of Glass in New York, the prestigious Pilchuck Glass School in Washington State, under Jane Bruce, Claire Kelly & Antony Schafermeyer and Boyd Sugiki. McDougal has spent time in the "fornaces" of Murano, Italy, as well. Today, he works with his friend and mentor Jason Lawson in studios in Fischer, Texas, a small town north of San Antonio. "Glass is an astoundingly versatile medium," says McDougal."It has an inherent music in it. Working with it in molten form is rhythmic… more of a dance than a process.”  Michael Monroe, former curator and director of the Smithsonian Institution's Renwick Gallery describes a pitcher from McDougal's collection as "…capturing the essence of molten glass in a moment of frozen elegance. The handle, with its dynamic but delicate pattern is beautifully integrated to give both a sense of motion and balance to the piece." "Whether appreciating it or creating it, I love art that elicits a sense of wonder, a sense of awe, makes me grin or laugh," says McDougal. "Whether an exploration of beauty, whimsy, or that huge realm of the unknown, it must remind me that all our human stresses and strains are insignificant.” McDougal's work is featured in galleries throughout Texas and California. He has been featured in shows in Dallas, Fort Worth, San Antonio, Houston and Galveston, among other cities.

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Retired Lladro Shepherd Boy With Dog Figure 4659 C.1969 Rare Early Impressed<br>Mark from first year of Production 8". This figure was produced from 1969-1985.<br>The mark on the base indicates it's circa 1969-70. No damage whatsoever, no box.

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c.1950 Heisey Lariat Glass Basket 10". No cracks, chips, scratches, or<br>cloudiness. 10"tall x 6.25" wide.<br>Tw60

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Antique Derby Figures Boy and Girl Holding Lamb and Dog c.1810. Wonderful,<br>whimsical pair. Boy is 9" tall x 4.25" wide. No cracks or chips. The lamb may<br>have a very good professional restoration to both ears. No other possible<br>restorations.

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2 Relief Molded Jugs Napoleon at Battle and Tavern Scene Early 19th century.<br>Both in perfect condition with no cracks, chips, or restorations. One is 6"<br>tall, the other 3 1/8".

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Antique Royal Doulton Indian Tree Meat Platter with Drain Well Hand Painted<br>Polychrome Transferware 19.25" x 15.5" c.1890's. No cracks, chips, restorations,<br>crazing, very clean.

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Antique Amethyst Enameled Water Pitcher Art Glass c.1900 Fenton or Northwood<br>9.75" tall x 8" wide with handle. No cracks, chips, or restorations. Wear to<br>Gilding on rim.<br>tw84

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1940's Blue Ridge China Hand Painted Porcelain Southern Potteries 12" Snack Tray Rose Pattern. No cracks, chips, crazing, or restorations. Scarce piece in scarce pattern.

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Hand Painted Japanese Porcelain Double Gourd Vase 7.5" tall circa mid 20th century, excellent quality. No damage or wear whatsoever.

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American Fostoria Ruby Bowl 10.25" x 4.5" c.1982-1986 MINT. No damage or wear whatsoever. Has an interesting Opalescent rim. tw84

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1930's Aquamarine McKee Rock Crystal Sherbet Dishes (6).  Very uncommon.  2 have small chips on rim, one has small chip on base.  These are shown in last three pics.  No other cracks, chips , or restorations.  These are scarce enough they're worth restoring or just loving. 3" tall x just under 4" wide at rim.

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Vintage Moroccan African Tribal Berber Pillow cover c.1960 new Never Used 24" x<br>18"<br><br>Great piece Never used, it's been in a blanket chest for 50-60 years.

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Vintage Pair Moroccan African Tribal Berber Pillow c.1960 new Never Used 23" x<br>19" selling both for one price. Unused with no issues.<br>Great piece Never used, it's been in a blanket chest for 50-60 years.

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Pair of Mid Century Modern Vintage Moroccan African Berber Pillows c.1960 new<br>Never Used 23.5" x 18" selling two for one price. Both in unused condition with<br>no issues.<br><br>Great piece Never used, it's been in a blanket chest for 50-60 years.

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Vintage Germany Sterling enamel Marcasite Ship pin and Thai turtle. Selling both<br>together because that's how my wife chose to photograph them. The ship obviously<br>older than the turtle, both sterling. The sails look a little weathered on the<br>ship, I'm not sure if that's intentional or not, honestly can't tell. 14.4 grams<br>total.<br><br>Judith and her husband Jack Rosenberg created the company Judith Jack in 1969<br>when they realized there was very little marcasite estate jewelry available.<br>They had been selling antique pieces, and they could not keep up with the demand<br>for this beautiful victorian-inspired jewelry from their buyers. Exquisite style<br>and quality made Judith Jack the leading marcasite fashion jewelry brand,<br>leading Judith to be named the queen of marcasite in the U.S.

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Guaranteed antique hand carved santos doll most likely Mexican or Italian.<br>Measures 15.25" tall x 7" wide. Missing one arm, feet were chipped off long ago,<br>and some wood missing behind the intact arm.<br>tw84

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Retro sterling silver amethyst necklace. Marked and tested sterling, 16" inside<br>circumference. No significant issues, very slight wear to stone.<br>40.3 grams.

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Guaranteed well over 100 years old Antique Bull Can Opener Dairy Farm 19th century Original. Fantastic solid piece with a no brainer patina that can't be faked. 6" long. Nobody would dare to question the masculinity of the owner of this. B8

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Herend Fortuna Candleabra Rust Butterflies Chinoiserie Pattern Gilding Peach<br>Border 19151 vboh 9" tall x 6" wide<br><br>Near mint barely if used at all condition. No cracks, chips, gold wear, or<br>utensil marks. All hand made and hand decorated.

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18th/19th century 9ct gold /sterling inlaid Tortoise Shell Etui, Vesta, and<br>other Objects of Virtue. Selling the lot shown, fake "normal" sized femal hand<br>shown for scale. All intact with some sort of damage or loss. Most considerable<br>being lots of chips inside rims of top and bottom of gold inlaid fox box.<br>Selling the lot shown. These were all purchased in New York at Parke-Bernet<br>Galleries before they were bought out by Sotheby's in 1964.

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6.5" Hummel Full Bee Mark Boy In Stagecoach 6.5" long x 4 5/8" tall x 2 7/8" wide MINT No chips, cracks, restorations, scuffs, or crazing.

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6" Hummel Crown Mark Boy with Frog Figure c.1945 6" tall, 5" wide MINT crown mark and full beeMeasures 6" tall. No chips, cracks, restorations, scuffs, or crazing.

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Denby Baroque Cobalt Blue Art Nouveau Covered Casserole 2 qt England Discontinued 2000 10.5" handle to handle x 7" tall. Unused condition with no cracks,chips, scratches, stains, or crazing.

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Very Large Meiji Period Kutani Figure Gama Sennin Toad Immortal 19th century<br>12.75" x 8" wide.  The standing guy is missing his thumb.  No cracks, other<br>chips, or restorations.<br>B4

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18th/19th century 9ct gold /sterling inlaid Tortoise Shell Traveling perfume<br>bottle holder. 2.5" x 2.5" x 1.25" overall, great and way above average, the<br>type of thing the elite of the period would have owned. Illegible hallmarks to<br>bottles lids, I believe gilt sterling, inside frame also hallmarked. Inlaid with<br>solid 9ct yellow and rose gold and sterling silver all hand engraved, hand done.<br>No damage to bottles, all stoppers present. One stable fracture to back left of<br>top section above hinge, another chip to front side diagonal of other. Both<br>really inconsequential as this is a rare, one of a kind museum quality item.<br>These were all purchased in New York at Parke-Bernet Galleries before they were<br>bought out by Sotheby's in 1964.

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A.F.D. Austin Texas Fire Department Chief Original Photograph 6 7/8" x 5 1/8"<br>Carriage with Horse Late 19th century. Whole thing is 7" x 9".. Guaranteed<br>original circa 1870's to 1890's. It was from a local Austin estate with all<br>local items in the estate. I believe it's Austin.

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C.1880 Carlsbad Austria 8.5" Hand Painted plate on cream ground no cracks, chips, restorations, minor Gilding wear on rim

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Antique Chinese Famille Rose Porcelain Happy Buddha Statue 10.5" tall x 11.25"<br>wide x 7.5"deep late Qing to Early Republic period. Made by and marked Zhu Mao<br>Ji Zao. No cracks, chips or restorations guaranteed.

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Rare Cambridge Rose Point Blown Divided Bowl 9 5/8" wide x 2.75" deep c.1940 No issues at all, no cracks, chips, scratches, cloudiness. Hard to find piece.

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c1890 Hutschenreuther Porcelain Plaque After Heinrich Hoffman Christusknabe Depicting a young Jesus Christ 11.25" x 9 1/8" framed x 5 7/8" x 4" plaque. Guaranteed Authentic, 100% hand painted, factory stamped with Hutschenreuther mark from the period. Secured as shown with foam board, I removed for photos carefully then replaced quickly and carefully.

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Blue and White Stoneware Cameron, Texas Advertising Rolling Pin c.1905 7 7/8" wide x 3 1/8" deep. No cracks, chips, or restorations. Two small glaze pops shown in pic, no big deal. No handles, but they can be taken off a wood pin.

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Antique Japanese Kashigata Carved Wood Cookie Mold kanji Characters C.1920.<br>13.5" x 2 7/8"" x 1.25" deep. No issues.

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Antique Japanese Kashigata Carved Wood Cookie Mold Lotus Blossom Signed C.1920.<br>9" x 3.75" x 1.25" deep. No issues, signed on back.

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Heubach Dutch Boy and Girl Porcelain Figures 19th century 7.5" x 4.5" No cracks,<br>chips, or repairs. Late 19th century.

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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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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 Petrified tree sap cuff bracelet. No issues. Unusual cuff, etsy's bots take issue with the A word. All precious metals are tested and guaranteed,

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Guaranteed 19th century. No cracks, chips, or restorations. Most of the Gilding<br>on the outer rim is significantly worn, also some of the inner crisscross<br>Gilding on the cobalt areas. All hand decorated. 16" x 2.25" deep.

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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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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 Navajo Sterling rope style cuff bracelet. Unmarked with no issues. All precious metals are tested and guaranteed,

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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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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 Multi-Stone channel inlay cuff bracelet. . All precious metals are tested and guaranteed,

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

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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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2003 Sterling Baby Jane Goodfell pendant. 2.75" tall x 7/8" wide x 18 grams, tested sterling. Made by the artist Stephanie Lindsay from Austin, Texas. She signed her works Baby Jane as a tribute to her mother, Betsy Jane Sands. This artist used vintage linen postcards in her jewelry and encapsulated them in sterling silver bezel setting, then she finished the pieces with a resin filling to protect the image and create a clear, glassy surface.

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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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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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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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