c1980's British Roadace Replica 1960's Lotus model collection. No detectable<br>issues or wear. Average Wood base measures 2.25" x 1.25", car approx 1.5 or 35mm<br>long. Selling the Exact 4 cars shown. I photographed one individually with the<br>intention of listing individually but I figured I would offer them as a group<br>for a better price. These are all quite rare as they were not mass produced,<br>historically they tend to average $125-$200 each. If I were to split up this<br>group I would want towards the higher end for just one but could potentially<br>work a deal on several. I'll be offering other makes and models separately,<br>these are really fantastic.<br><br>Roadace Replicas were made by hand in Mannamead, Plymouth, England in the 1970s<br>to 1990s. Principals were A. K. Dolton and B. E. Dolton. Principal subjects have<br>been sports and GT cars, sports racing cars, and Formula 1 racing cars.<br><br>Models were cast in resin and individually painted by hand, including such<br>details as hood louvers, aperture lines, and spokes on wire wheels. Plastic was<br>used for flat windscreens and occasionally metal was formed and used for details<br>like cycle-type fenders. Most are in a scale of 1/100 though, incredibly, some<br>are even smaller.

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Antique Japanese Taisho Period Mixed Metals box. 2 3/8" wide x 1.75" deep x 1 1/8" tall with no issues, amazing work of art. First quarter of 20th century, Allie monogram in interior. Fujii Yoshitoyo was born in 1868 in Kyoto, Japan. Some sources write "Yoshitoyo" as "Biho" or "Miho", as 美豊 can be read in several ways. In addition, Fujii's first name can be written either as 美豊 or 美豐, since 豊 kanji is the simplified form of 豐. Fujii's family is known as early as 17th century and for four generations has enjoyed renown as the producer of inlaid work of first rank. Early in life, Yoshitoyo trained himself in this art, which led him to perceive the fact that there was ample room for further improvements and developments. Long experience and careful study gave him the skill and knowledge by which he could perfect the art, but Kyoto in those days was quite conservative, so that it was practically impossible for him to carry into practice the results of his investigation. He left home and came to Tokyo, the centre of learning, where he devoted himself to the art for a number of years, and finally succeeded in introducing valuable improvements. In 1902, at the age of 35, Fujii obtained his first patent from the Imperial Government. In 1909 he was granted his second patent. His damascene work, being made mostly from designs drawn by Prof. Bisei Unno of the Tokyo Fine Art School, well met the taste and requirements of the time.

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Vintage carved burl sculpture. Unsure of Artisan or even ethnicity/culture of<br>artisan, it's probably about 50-60 old as are the prices on the bottom. 5" tall<br>with 3.75" square base.

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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. 6.75" Vintage Navajo sterling overlay style bracelet 5.75" with 1" gap, 20mm<br>wide, 35.6 grams with no issues.<br><br>[Marion (M.L.) Woodard worked for the United Indian Traders Association (UITA)<br>in the 1930s and also operated shops in Tucson, Scottsdale, Santa Fe and Gallup.<br>Some of the noted artists that worked for Woodard’s include Navajo silversmiths<br>Kee Joe Benally, Wilson Tsosie, Joe D. Yazzie, and Willie Yazzie Sr. – from<br>Native American and Southwestern Silver Hallmarks by Bille Hougart:]<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. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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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 Turquoise freeform cuff bracelet fits up to a 7<br>1/8" wrist, 1 3/8" gap, a substantial 84.7 grams. Good vintage condition with no<br>issues, tested sterling.

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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. 6 5/8" 1930's Navajo Stamped silver and turquoise bracelet 6 1/8" plus 1.5" gap<br>could be carefully adjusted somewhat, 31.6 grams 27mm wide.<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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Chunky sz9 Sterling Raw Amethyst ring Artisan signed. Very cool ring with no<br>issues. Size 9, looks adjustable but I believe it's soldered so not. 29.4 grams.<br>illegibly signed. 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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Vintage Native American Sterling/turquoise cake server. Unmarked, tested<br>sterling. Guaranteed solid sterling silver and natural turquoise. stable<br>fracture in larger stone, not going anywhere. 11.5" long x 3.25" wide x 200.5<br>grams.

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French Lalique 1976 US Bicentennial patriotic trinket dish 4" wide and tall,<br>signed Lalique France center of base. No scratches, damage, or wear. No issues.<br>b1

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Antique Chinese Guangxu mark carved ginger jar 3.75" tall x 3.5" wide with no<br>damage or restorations.

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c1900 Antique Rosenthal Copenhagen Duck vases pair 6" tall each with no cracks,<br>chips, or restorations. Selling both.<br><br>isshelf

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Antique Asian Sterling gold accent and garnet filigree dragon collar necklace.<br>Extremely well made necklace from the early 20th century with no damage or<br>significant wear. Completely handmade, hand stamped scales, stones test as<br>garnets, gold tests as 14k, marked 925 with no other markings. Unsure of exact<br>origin. 17" total length 33.4 grams.

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Large Antique Japanese Meiji period Imari Graduated bowl set. Nicely painted, unusual to find a set like this. Largest 12" wide x 4" deep. Selling all three shown. Guaranteed over 100 years old with no cracks, chips, or restorations. isshelf

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Vintage Zuni Native American Sterling turquoise and shell necklace. 25" long<br>12.8 grams. unmarked<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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Vintage Native American Sterling turquoise and coral pendant/necklace. 16"<br>necklace, 1.75" long pendant, unmarked. 11.9 grams.<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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sz2.5 c1930's Navajo Silver and turquoise row ring, unmarked 2.1 grams with no<br>issues, nice old ring<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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6" Vintage Southwestern Sterling braided rope bracelet. 6" including the 1" gap.<br>Nice solid bracelet unmarked but tested sterling silver .25" thick 43.1 grams.

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c1900 Croft Darby Style Antique Handcuffs. Selling the handcuffs shown in<br>amazingly well preserved condition, fully functional. The keys are threaded, you<br>just keep turning until they open. These are very rare, especially in this<br>condition.

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Vintage Native American sandcast silver turquoise/coral belt buckle. Nice old buckle from the second quarter of the 20th century with a very nice patina and a beautiful piece of turquoise. 3 7/8" x 2.5" takes up to just over a 1.5" belt. 89.6 grams.

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Cel Vintage Matl Style Sterling Turquoise Amethyst and coral necklace/<br>bracelet/earrings set. Selling the set shown with no issues, Necklace 18.5"<br>long, bracelet 7.75" long, earrings 1.5" long. Nice old vintage set from the<br>70's or 80's. with no apparent damage. 85.8 grams total weight.

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****All James Avery jewelry on the Estate Fresh Austin website is used/pre-owned authentic jewelry that was originally purchased directly from James Avery by the owners or family of the estates we liquidate. Each item will have some degree of wear which will be shown in the photos but will be in clean condition, no boxes or paperwork will be included unless shown in the photos. The item you are purchasing is the exact item photographed as we only have one.******* sz5.25 James Avery sterling Song of Solomon ring. Very clean with no issues 3/8"<br>wide.<br><br>James 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.<br><br>Mr. Avery’s mission was simple: to create jewelry with meaning—both for himself<br>and others. With a focus on creating straightforward designs and a core belief<br>of integrity in all things, his jewelry became more than precious metals and<br>gemstones. Guests came to him with their stories—their special moments—so he<br>could craft them into pieces they would wear with pride for a lifetime. From<br>writing letters to greeting Customers, Mr. Avery prioritized developing lasting<br>relationships with each person who connected with his designs. 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 5 Ring.

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Vintage Native American Sterling/turquoise pendant. Signed JM, tested sterling. 2.5" tall x 1 3/16" wide 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. 6.5" 1940's Navajo silver and fox turquoise bracelet. Center stone secure and<br>intact with old stable fracture. Fits up to a 6.5" wrist, 5 3/8" plus 1 1/8"<br>gap. 37.7 grams.<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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1996 "Present day Rookwood Pottery" Polar Bear paperweight in box. No damage,<br>still in box, box has wear. Cat is 4.25" tall and heavy enough for a paperweight<br>or possibly even a bookend for smaller books.<br>. It does bear a faint glazed over rookwood mark in addition to other markings,<br>it's just faint and I didn't have time to zoom in.<br><br>b17

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Ancient Carved Marble Votive Head, Alexandrian, Egypt. This is part of a large collection of artifacts I'm helping liquidate, all purchased from reputable sources over the last quarter of the 20th century, money was no object. I'm pricing everything at a small fraction of what it cost from the galleries/auctions. Just the displays alone must've cost a small fortune. They come in a very fancy Steel/acrylic display case, case measuring 4" tall x 2.75" wide, some wear/adhesive residue to case, Head 1.25" X 7/8"

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c1950 Bartholomew Mexican Dance mask from Christmas play. 13" tall x 8" wide<br>without ponytail, ponytail is 3-4 feet long. No issues. I will be offering a<br>very large collection of these that was assembled in the 60's-80's, a large<br>percentage are from the first quarter of the 20th century, some perhaps a bit<br>older. The ones that are more recent are of exceptional quality. Some have tags<br>identifying them, some of the tags are missing or have been degraded over time.<br><br>I won't have time to discuss the character of each mask, but I'll make sure to<br>take good, accurate photos, and as stated you'll get the mask shown in the<br>condition shown, with approximate age stated. They will be safely stored until<br>sold so I won't really be able answer any specific questions, I'll give the<br>measurements of each one when listing. And I apologize in advance for my lack of<br>cultural awareness if I happen to call a central/south American mask a Mexican<br>mask.<br>It's just there are a lot of masks and very little time, and while I think each<br>and every one of them is absolutely fabulous or I wouldn't waste my time<br>photographing them....I would rather spend the time I could spend learning the<br>history of each character making sure they are packaged well enough to fall off<br>the truck, get ran over a few times...and still make it to you intact.

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4.75" Large Eickholt Opalescent Iridescent Jellyfish Paperweight with controlled bubbles. No cracks, chips, or dings. First pic is same paperweight on a black background which seems to present it better. isshelf

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Ancient Roman Bronze buckle This is part of a large collection of artifacts I'm helping liquidate, all purchased from reputable sources over the last quarter of the 20th century, money was no object. I'm pricing everything at a small fraction of what it cost from the galleries/auctions. Just the displays alone must've cost a small fortune. They come in a very fancy Steel/acrylic display case, case measuring 4" tall x 2.75" wide, some wear/adhesive residue to case, buckle 2.5" x 1 1/8" tw154

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7" vintage Navajo silver and turquoise bracelet 7" including the 1" gap 1.5"<br>wide, 66.4 grams 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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sz4.5 Vintage Navajo silver and turquoise ring. No identifying marks 1.25" long face, 9.3 grams. All precious metals are tested and guaranteed,

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sz7.5 Vintage Navajo silver and turquoise ring 40mm long face, 15.7 grams<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. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure. 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 7 Ring.

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Antique Mexican Moor Dance mask. 14" tall x 8" wide. I will be offering a very<br>large collection of these that was assembled in the 60's-80's, a large<br>percentage are from the first quarter of the 20th century, some perhaps a bit<br>older. The ones that are more recent are of exceptional quality. Some have tags<br>identifying them, some of the tags are missing or have been degraded over time.<br><br>I won't have time to discuss the character of each mask, but I'll make sure to<br>take good, accurate photos, and as stated you'll get the mask shown in the<br>condition shown, with approximate age stated. They will be safely stored until<br>sold so I won't really be able answer any specific questions, I'll give the<br>measurements of each one when listing. And I apologize in advance for my lack of<br>cultural awareness if I happen to call a central/south American mask a Mexican<br>mask.<br>It's just there are a lot of masks and very little time, and while I think each<br>and every one of them is absolutely fabulous or I wouldn't waste my time<br>photographing them....I would rather spend the time I could spend learning the<br>history of each character making sure they are packaged well enough to fall off<br>the truck, get ran over a few times...and still make it to you intact.

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Antique Chinese Republic Period Cloisonne Box 5" x 3" x 2.5" with no damage,<br>over 100 years old. Marked in Enamel "ANIHC" which of course is China backwards.

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7 1/8" Vintage Nelson Lee Zuni Large sterling channel inlay bracelet 1.5" wide<br>band, fits up to a 7 1/8" wrist including the 1.25" gap, no issues. 93.3 grams.<br><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. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Swedish Gustavsberg Mid Century Sterling overlay green pottery vases. no damage<br>or detectable wear. Tallest 5", widest 3.25" Selling all three with no<br>restorations. My color is off a little in the pics, it's a little greener.<br><br>Gustavsberg is a Swedish porcelain company that originated in 1826. It broke up<br>in the 1990s and was sold off in pieces, to the dismay of residents of the<br>Gustavsberg area.<br><br>Wilhelm Kåge (1889-1960) is one of the most well-known representatives of the<br>illustrious Swedish ceramic design of the 20th century. He was the artistic<br>leader for Gustavsberg in the 1930s and 1940s and is often called the father of<br>Swedish modernism. Kage is represented at the Swedish National Museum of Art and<br>Design.

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Large Daniel Lotton Art Glass Vase 7" tall x 8.5" wide with no cracks, chips,<br>restorations, or other issues. Iridescent interior, amazing piece overall.<br><br><br>Daniel Lotton is the son of world renown glass artist Charles Lotton. Born into<br>an artistic family, Daniel was encouraged to express his creative energies. At<br>the age of 14 he started working in Charles' Lynwood glass shop learning to make<br>pendants and paperweights. At the age of 17 he started doing Charles' finishing<br>work which consisted of grinding and polishing glass. He later assisted and<br>apprenticed Charles for several years. When Daniel graduated high school he<br>started working full time in the studio for Charles as well as creating his own<br>glass. As his skills grew so did his commitment to his art. Through the years<br>Daniel has grown into the artist that he is now today.<br><br>A constant throughout his career and his work is the inspiration he derives from<br>nature. Some of those designs that he has created over his career is his Pulled<br>Fern design, Anthuriums Flowers, Tuliptokiss Flowers, Iris, Asters as well as<br>his signature Cynthia Flower. Surely these will stand the test of time in the<br>art world. Examination of any Daniel Lotton art from paperweights and perfume<br>bottles as well as vases, lamps, and chandeliers will inevitably communicate his<br>desire to emulate the Master's great hand in every laboring creation.<br><br>Daniels' passion for glass has changed throughout the years.Daniel spends many<br>hours sketching new designs, perfecting color formulas to personlly excute those<br>ideas to keep his art progressive. At the present time he is captivated in<br>creating beautiful lighting, such as lamps, lighted tables as well as<br>chandeliers. He creates beautiful custom lighting for collectors as well as<br>businesses.<br><br>You can find Daniel's studio surrounded by farm fields in the quaint town of<br>Crete, Illinois. Daniel's unique one-of-a-kind pieces can be found in many fine<br>galleries across the country.<br><br>His work is collected by art enthusiasts, celebrities, and prominent sports<br>icons both nationally and internationally. NASCAR Champion Tony Stewart, Grammy<br>Award Winner Singer Melissa Etheridge, and Actress Salma Hayek are just a few of<br>the prominent collectors of Daniel Lotton's Art Glass. Assuredly, Daniel Lotton<br>collectibles will be enjoyed by many generations to come.

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****All James Avery jewelry on the Estate Fresh Austin website is used/pre-owned authentic jewelry that was originally purchased directly from James Avery by the owners or family of the estates we liquidate. Each item will have some degree of wear which will be shown in the photos but will be in clean condition, no boxes or paperwork will be included unless shown in the photos. The item you are purchasing is the exact item photographed as we only have one.******* Sz6 James Avery Alexandrite Remembrance June Birthstone ring. Lab alexandrite, 3 grams with no issues. anderas James Avery founded his company in 1954, initially crafting jewelry in a two-car garage in Kerrville, Texas, with just $250 and a desire to create lasting value for others. Mr. Avery believed that meaning is what makes life more beautiful and this concept continues to drive how we design jewelry to this day. In 2007, 53 years after he first founded the company, James Avery officially stepped down as CEO and passed the reins on to his sons, Chris and Paul. Mr. Avery’s mission was simple: to create jewelry with meaning—both for himself and others. With a focus on creating straightforward designs and a core belief of integrity in all things, his jewelry became more than precious metals and gemstones. Guests came to him with their stories—their special moments—so he could craft them into pieces they would wear with pride for a lifetime. From writing letters to greeting Customers, Mr. Avery prioritized developing lasting relationships with each person who connected with his designs. 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 6 Ring.

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Gemset Sterling Snake pendant. Very cool, 1 7/8" x 1" x 10.2 grams with no issues, no missing stones. Stones untested, likely lab stones. anderas

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5 Antique Teen/20's Sterling silver School medals 1.5"-1.75" tall x 1"-1.25" wide x 50.2 grams total. All sterling marked and/or tested. anderas

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Vintage Hand Painted Enamel brooch. Wonderful hand painted brooch on copper<br>enamel in silver (unknown content) frame. Pin on the back is steel. 1 5/8" tall<br>x 1 3/8" 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. Vintage Native American Sterling Kokopelli Cuff bracelet. Unmarked Fits up to a<br>7 3/8" wrist, 1.25" gap, 1" wide, 55 grams.<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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sz4 Bernard Dawahoya (1936-2010) Hopi Overlay silver ring 6.8 grams, clean on<br>all sides with no issues.<br><br>Bernard Dawahoya<br>(1936-2010)<br><br>Master silversmith Bernard Dawahoya was born in 1936 in the Second Mesa village<br>of Shungopavi. A member of the Snow Clan, his Hopi name is Masaqueva, which<br>means “Wings of the Sun” or “Little Sun”.<br><br>Bernard Dawahoya, was a master of many traditional Hopi arts, but focused on<br>silversmithing since his teens and making jewelry since the 1950’s. He learned<br>from his uncles, Washington Talayumptewa and Sidney Sekakuku, and also took<br>classes at the Hopi Silver Craft Cooperative Guild.<br><br>Eventually, Bernard Dawahoya returned to Shungopavi and opened his own shop, and<br>continued to exhibit at arts and craft shows. His masterful works are known for<br>their precise matting (texturing) in negative spaces, heavyweight silver, crisp<br>designs, and bold traditional symbols, such as Mudheads, Hopi Snake Dancer, Crow<br>Mother, eagles, roadrunners and more; all reflect Hopi history, culture, and<br>beliefs. Beyond his skills with silver overlay, jewelry boxes and bowls, he<br>created textiles, paintings, Katsina dolls, and leatherwork. He also recorded<br>traditional Hopi dance songs in 2004, and was known as a prolific storyteller,<br>regaling admirers with the stories behind his designs.<br><br>His works are included in the collection at Harvard University’s Peabody Museum<br>of Archaeology and Ethnology as well as at other museums from California to New<br>York and many private collections. In 1998 he was designated an Arizona Living<br>Treasure and enjoyed that distinction until his passing in 2010. 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 4 Ring.

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Early Chinese Earthenware figure 10.5" tall, very old piece, small chips on<br>bottom rim and overall glaze degradation. Likely excavated. No restorations,<br>large chips, no cracks.

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Antique Japanese Calabash Sake Bottle Hyotan Natural Gourd with Woven basket<br>exterior 10.5" tall x 6" wide. These gourd bottles are desirable without the<br>fancy basket exterior, a basket of this quality is amazing in itself. The gourd<br>with the basket exterior is just absolutely amazing. Very old antique item<br>approximately 100 years old with no significant issues.

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c1910 Albert Rosenhain Berlin Bronze Dore Box 5" wide x 2 7/8" tall with no<br>damage, expected wear to gold Dore finish. Tw209

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Large 1920's Muller Frères Cameo Glass Landscape vase. 12" tall x 5.25" wide<br>with no cracks, chips, or restorations. tw108<br><br>Cameo glass is a luxury form of glass art produced by cameo glass engraving or<br>etching and carving through fused layers of differently colored glass to produce<br>designs, usually with white opaque glass figures and motifs on a dark-colored<br>background. The technique is first seen in ancient Roman art of about 30 BC,<br>where it was an alternative to the more luxurious engraved gem vessels in cameo<br>style that used naturally layered semi-precious gemstones such as onyx and<br>agate. Glass allowed consistent and predictable colored layers, even for round<br>objects.<br><br>From the mid-19th century there was a revival of cameo glass, suited equally to<br>Neo-Grec taste and the French Art Nouveau practiced by Émile Gallé. Cameo glass<br>is still produced today.<br><br>Muller Frères (Co.) was an esteemed French glassmaking company based in<br>Luneville, France, famous for its Art Nouveau vases, lampshades, and<br>chandeliers, which often incorporate layered and colored glass. Their workshop<br>was established by Henri Muller and his brothers in 1895 after they trained with<br>Émile Gallé—who would retain a grudge against Muller for setting up a rival<br>enterprise. In 1910, the company began making lamps in association with Chapelle<br>and, at its height, employed around 300 workers. Production was stopped in 1933<br>and the factory closed three years later, a victim of the Great Depression.

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Theodor Olsens Eftf - Bergen Mid Century Norwegian Gilt Sterling enamel demitasse spoon set. Selling the set shown with no issues 4" long. No damage to enamel. Theodor Olsens Eftf - Bergen Founded by Theodore Olsen (1837-1890) in 1868. After his death the silversmithery and store were sold to brothers Magnus and Knut Aase, but continued under the name of Theodore Olsen. Since then, many generations of the Aase family have managed the firm. In 2016 Theodor Olsen Eftf became Arven AS anderas

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****All James Avery jewelry on the Estate Fresh Austin website is used/pre-owned authentic jewelry that was originally purchased directly from James Avery by the owners or family of the estates we liquidate. Each item will have some degree of wear which will be shown in the photos but will be in clean condition, no boxes or paperwork will be included unless shown in the photos. The item you are purchasing is the exact item photographed as we only have one.******* Retired James Avery Textured Ichthus Fish Lapel pin/tie tac 5/8" x .5" face, 6.2 grams with back. You can cut chain or use a different back to wear as a lapel pin if you aren't into tie tacs. James Avery founded his company in 1954, initially crafting jewelry in a two-car garage in Kerrville, Texas, with just $250 and a desire to create lasting value for others. Mr. Avery believed that meaning is what makes life more beautiful and this concept continues to drive how we design jewelry to this day. In 2007, 53 years after he first founded the company, James Avery officially stepped down as CEO and passed the reins on to his sons, Chris and Paul. Mr. Avery’s mission was simple: to create jewelry with meaning—both for himself and others. With a focus on creating straightforward designs and a core belief of integrity in all things, his jewelry became more than precious metals and gemstones. Guests came to him with their stories—their special moments—so he could craft them into pieces they would wear with pride for a lifetime. From writing letters to greeting Customers, Mr. Avery prioritized developing lasting relationships with each person who connected with his designs. anderas

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NEW Reed and Barton Francis 1 Sterling Silverware 6 3/8" Modern Hollow Butter Spreader with sterling handle and (Stainless blade). I have a small set of this in "New old Stock" condition. They have never been out of the sleeve, never used, this pattern was discontinued in 2019 so they have been in a drawer for awhile and will be some wear to plastic sleeves but the pieces inside are absolutely new and unused, not machine polished with a worn down pattern like some of the big replacement patterns offer but new and not available anywhere at any price in this condition. I'm still pricing them at way less than they cost new and about what the big companies charge for a refinished piece that typically has lost the original crispness of the pattern. Selling (1) 6 3/8" Modern Hollow Butter Spreader (Stainless blade) sealed in the pack, unused with more available. You can change the qty to purchase more than one. An American Classic, Francis 1st by Reed & Barton continues to be as popular today as it was when it was introduced in 1907. The grandeur of this unique sterling silver pattern, designed by Ernest Meyers, is enhanced by its fifteen different fruit-and-flower clusters. Each handle bears one of these exquisitely detailed vignettes. After 112 years this pattern was retired in 2019.

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c1920's French André Delattte Cameo Glass Footed Center Bowl. Great piece of<br>Authentic French cameo glass from the 20's or 30's. 9" tall x 7.5" wide with no<br>cracks, chips, or restorations. The yellow looks like uranium glass to me but I<br>can't find any of my UV lights at the moment.<br><br><br>André Delattte himself was born in Châtenois, France, in 1887. He first founded<br>his glass producing company in 1921, close to Nancy. He fabricated engraved<br>glass objects of the kind which was also sold by Daum and Muller Frères.<br>Delatte’s cameo vases and bowls were much more interesting: the objects only<br>incorporated two to three layers of glass, with motives made visible through<br>acid and only little polishing was done afterwards. The designs were common to<br>be solid and clean. Although the motives themselves were not innovative and<br>mostly depicted landscapes and florals, they were attractive to the eye. The<br>company was shut down in 1938, because of the financial crisis at the time.<br><br>tw22

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4 Vintage Southwestern sterling pendants. Selling the 4 pendants, all tested<br>sterling. Tallest 2 3/8" tall. All with no issues. 30.5 grams total.

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19th Century Japanese Carved boxwood toads netsuke 1.75" tall x 1 5/8" deep x 1.25" wide with no damage. A netsuke (根付, [netsɯ̥ke]) is a miniature sculpture, originating in 17th century Japan. Initially a simply-carved button fastener on the cords of an inrō box, netsuke later developed into ornately sculpted objects of craftsmanship. History An "Off White" netsuke with an eagle design and an inrō with a deer design. The combination of netsuke and inrō creates a story of an eagle preying on deer. Edo period, 18th century Traditionally, Japanese clothing – first the kosode and its later evolution, the kimono – did not have pockets. Though the sleeves of the kimono could be used to store small items, the men who wore kimono needed a larger and stronger container in which to store personal belongings, such as s, , money and seals, resulting in the development of containers known as sagemono, which were hung by cords from the robes' sashes (obi). These containers may have been pouches or small woven baskets, but the most popular were crafted boxes (inrō) held shut by ojime, sliding beads on cords. Whatever the form of the container, the fastener which secured the cord at the top of the sash was a carved, button-like toggle called a netsuke. Netsuke, like inrō and ojime, evolved over time from being strictly utilitarian into objects of great artistic merit and an expression of extraordinary craftsmanship. Netsuke production was most popular during the Edo period (1603–1867). Netsuke and inrō declined as Japanese clothes were gradually westernized from the Meiji period (1868–1912). Because of their popularity amongst Western collectors at the time, some of the greatest collections are now found outside of Japan

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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. 6.75" Bennie Bowekaty Zuni Sterling, Turquoise and Mediterranean coral cluster<br>cuff bracelet 5.75" plus 1" gap 2.75" wide in center of face, 82.8 grams.<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. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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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 Navajo Silver Petrified wood cuff. Nice old cuff from the second quarter of the 20th century with no issues. No makers or purity markings as it is will older 1970's and before Native American Cuffs, tested and guaranteed a minimum of coin silver (90%). No issues.

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19th century Japanese Samurai sword fittings collection. Selling the lot shown.

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c700-1000bc Luristan bronze spear and arrowhead collection. Largest 4.25" long,<br>smallest .5" long. Sorry there aren't more pics but I really don't want to<br>handle these anymore than I have to for obvious reasons. This is part of a large<br>collection of artifacts I'm helping liquidate, all purchased from reputable<br>sources over the last quarter of the 20th century, money was no object. I'm<br>pricing everything at a small fraction of what it cost from the<br>galleries/auctions. Just the displays alone must've cost a small fortune. They<br>come in a very fancy Steel/acrylic display case, case measuring 6.5" cube, some<br>wear/adhesive residue to case, figures 5 3/8" tall, some wear to figures but no<br>major breaks or repairs. The figures are over 3000 years old and guaranteed<br>authentic.<br><br>isshelf

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Large Southwestern Sterling/howlite Feather pendant necklace. Large heavy solid<br>sterling. Approx 20" total length, Bar is 8" wide with feathers, chain 12" long.<br>100.6 grams total weight.

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ww2 Era Sterling pilot wings tie bar. Wings just over 2" wide, marked sterling, I don't believe the top bar is sterling. 11.3 grams.

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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. Men's Size 10 Ring.

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Bohemian Ajka Caroline Cobalt Blue Water Goblets. Selling 4 goblets for one<br>price with another lot of 4 available by changing the qty to 2. They are 8 3/8"<br>tall x 3" wide at the rim all in mint like new condition with absolutely no<br>damage or wear of any kind. Most likely never used. There are 2 Seemingly<br>identical patterns by Ajka, one Carolyne, one Caroline. I believe the Caroline<br>water goblets are listed at 8 3/8" tall which these are, also Caroline has 9 Fan<br>points which these do and Carolyne has 7, both patterns were retired in 2004.<br><br>tw212

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Mid century modern sterling cufflinks. They appear either Scandinavian or Native<br>American :). They are really cool, circa mid 20th century, each marked sterling<br>inside bars. Selling the pair shown

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2 Antique Chinese Silver repousse napkin rings. Late 19th century Chinese export<br>heavy repousse napkin rings. 1 7/8" x 1 3/16" x 61.5 grams total weight. Selling<br>both.

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Antique Exposition Spoon collection 1893, 1904, 1915. Selling the lot, 3<br>sterling, two not. Regular sized teaspoons, penny shown for scale.<br>silverdrawer

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Antique Gold Miner's Portland Mine Cripple Creek Colorado Souvenir spoon<br>silverdrawer

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Antique Dutch Repousse silver tea caddy spoon. Selling the spoon shown,<br>hallmarked in bowl and tested high content silver. 4.25" long with 2 3/8" bowl.

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Early Korean Buncheong Celadon glazed inlaid dish 4.75" wide x 1 7/8" tall,<br>overall wear and degradation to glaze, no cracks, chips, or restorations.<br>tw147

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1964 Harding Black Texas Studio Art pottery bowl 8.75" wide x 3" deep with no<br>damage or restorations. tw105<br><br>Harding Black San Antonio (1912 - 2004)<br><br>A ceramist, sculptor, painter, bricklayer, teacher, Black graduated from<br>Brackenridge High School and attended San Antonio Junior College (1929-30). In<br>1933, Black was taught by Rudolph Staffel to make wheel-thrown pottery and also<br>began to teach children's ceramic classes at the Witte. Black directed ceramic<br>installation in a San Antonio reconstruction project sponsored by the National<br>Youth Administration and the Works Progress Administration art program. In 1955<br>he retired from teaching and devoted his time to ceramics. Black became a<br>well-known ceramist from his research, innovations, and writings in the field.<br>Black's collection and archive is housed at Baylor University. Harding Black's<br>work with clay serves an an important bridge between early Texas and mid-century<br>pottery.

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1942 WW2 Era Japanese Mitsubishi Fighter plane vase. 6" tall with no damage or restorations, some wear to gilding as shown. This vase was created in 1942 by Mitsubishi, which manufactured fighter planes at that time, as a memento of the Army commendation

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Vintage Southwestern Modernist Give Love Sterling/turquoise hippy ring. Not really sure how old this is or who made it but it's great, tested sterling. Marked Give Love in interior and with apparent markings under bezel. Just a hair under size 8 13.4 grams.

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Vintage Navajo Silver and turquoise bolo tie. Marked as shown, Bolo slide 3" x 2<br>1/8" bolo slide, 40" long 66.5 grams total weight.<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. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist, rings photographed<br>on the appropriate sized finger when possible. With bracelets if the measurement<br>is not given in the description then inside circumference is shown where the<br>metal meets the number on the the cloth tape measure.

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Antique Chinese Jade Button collection. Selling the collection shown, most if not all 19th century or earlier. All had carved, some with chips and losses. 105.7 grams total, these would be great in jewelry. Average 1"-2" at longest point, hand shown for scale in last pic.

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Antique Bronze Snake Opium weight set in amazing basket. Rare and amazing set, I've seen mid sized snake form weights bring over $100 for one weight, a set like this in nonexistent, the basket is absolutely amazing. All 19th century. Basket 4.25" x 3 5/8" x 1.25" deep with no issues. I believe the basket is Japanese, acquired together from a very extensive "price is no object" collection of Japanese antiques. Largest weight is 67.7 grams, 1 5/8" tall, smallest 7.9 grams. Selling the set shown, the only one out there.

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c1900 Japanese Russian War Period Kikumon Flags Cloisonne ceremonial sake dish<br>6" wide x 1.25" tall with no damage or restorations.

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UND Pottery North Dakota School Of Mines Vase Mattson. 4 5/8" tall with no damage or restorations. Really an incredible and complex glaze on a very cool form.UND pottery was a turn of the 20th century effort to promote “a wealth of design material peculiar to the prairies” — as Margaret Cable wrote in a 1926 brochure. UND Pottery is now highly collectible, has been featured on the PBS series Antiques Roadshow and is the subject of several books.Ms. Julia Mattson joined the University of North Dakota Pottery or ceramics department faculty in 1924 the same year she graduated from the school. She spent the next thirty-nine years teaching in the Ceramics Department. She was a hard worker and extremely devoted to the production of UND art pottery. Ms. Mattson continued making art pottery at UND until her retirement in 1963. Ms. Julia Mattson later moved to California, where she died in 1967.tw119

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Early Pre 1913 UND Pottery North Dakota School Of Mines Toothpick/Cabinet Vase 2.75" tall, though the style is Art Deco I believe this to be a pre 1913 mark, correct me if I'm wrong. No cracks, chips, or restorations.UND pottery was a turn of the 20th century effort to promote “a wealth of design material peculiar to the prairies” — as Margaret Cable wrote in a 1926 brochure. UND Pottery is now highly collectible, has been featured on the PBS series Antiques Roadshow and is the subject of several books. tw119

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Antique Japanese Mandarin Duck form Kushi Comb 5 3/8" x 3.25", overall clean, amazing detail, hand painted with gold.

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Vintage Koshida Japanese Satsuma bowl 5" wide x 2" deep with no damage, overall expected crazing, no major stains. Hand painted.

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c1940's Chinese gilt filigree silver enamel cats eye bracelet. 41 grams, great<br>bracelet from the second quarter of the 20th century with no detectable issues.

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Antique 14k Gold Hardstone cameo pendant with pearls. Unmarked, tested and<br>guaranteed solid 14-15ct gold. Approximately 150 years old, 1 7/8" tall with<br>bail and jumpring x 1.25" wide. 14 grams.

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c1940's Zuni Snake eye sterling and turquoise screw back earrings .5" wide faces. From the second quarter of the 20th century. At the time of this listing I have two pairs of these from the same estate. Selling one pair with another available. If you buy one you will get the pair shown. 3.4 grams.

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Antique Meiji Japanese Satsuma Vase 6" tall x 4.5" wide with no cracks, chips,<br>or restorations, very nicely decorated.

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Koshiro Ueki Minister of Justice Presented Pure Silver Sake Cup, some minor wear, tiny dent in bowl, overall good. 1.75" tall x 4 7/8" wide 129.4 grams.

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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. 6.25" Vintage Sterling, turquoise and Jasper southwestern bracelet. J Wright,<br>most people say he's Navajo, some people say his name is Jerome...not sure. Nice<br>vintage bracelet, heavy hammered sterling 5.25" plus 1" gap, 28mm wide. 70.8<br>grams.<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. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Antique Japanese Taisho Period Mixed Metals trinket dish 4 1/8" x 2 3/8", no<br>issues.. Great piece from the first quarter of the 20th century.<br><br>Fujii Yoshitoyo was born in 1868 in Kyoto, Japan. Some sources write "Yoshitoyo"<br>as "Biho" or "Miho", as 美豊 can be read in several ways. In addition, Fujii's<br>first name can be written either as 美豊 or 美豐, since 豊 kanji is the simplified<br>form of 豐. Fujii's family is known as early as 17th century and for four<br>generations has enjoyed renown as the producer of inlaid work of first rank.<br>Early in life, Yoshitoyo trained himself in this art, which led him to perceive<br>the fact that there was ample room for further improvements and developments.<br>Long experience and careful study gave him the skill and knowledge by which he<br>could perfect the art, but Kyoto in those days was quite conservative, so that<br>it was practically impossible for him to carry into practice the results of his<br>investigation. He left home and came to Tokyo, the centre of learning, where he<br>devoted himself to the art for a number of years, and finally succeeded in<br>introducing valuable improvements.<br>In 1902, at the age of 35, Fujii obtained his first patent from the Imperial<br>Government. In 1909 he was granted his second patent. His damascene work, being<br>made mostly from designs drawn by Prof. Bisei Unno of the Tokyo Fine Art School,<br>well met the taste and requirements of the time.

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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. 6.25" Vintage Navajo Silver snake eye turquoise bracelet 5" plus 1.25" gap 15mm<br>wide, 43.6 grams 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. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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Andreas Beckmann Sterling Alligator Belt buckle on size 26 Alligator belt. From<br>the retired high end Dallas designer Andreas Beckmann. The buckle is 4.5" x<br>2.75" thick solid heavy sterling and takes up to a 1" belt. The buckle appears<br>new with no signs of wear. The belt appears to have been worn a handfull of<br>times with no significant wear but very close examination shows it's not "Brand<br>New". Belt is 1.25" wide tapering down at both ends, comes with original bag and<br>two new keepers in the box from the shop this ensemble likely came from in Aspen<br>Colorado. It was likely about a $1500 retail item that isn't currently available<br>at any price as the designer retired.

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sz8.5 Vintage Native American sterling and turquoise ring. High quality ring and stone with no issues, apparently unmarked. 9.2 grams All precious metals are tested and guaranteed,

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Van Briggle Elephant Paperweight in Blue Matte. Great piece from the second quarter of the 20th century. No cracks, chips, or restorations, some crazing with no stains. 3.5" long x 2.5" tall. tw122 Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs. Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston. The Van Briggle Pottery Studio closed in spring 2012 Artus Van Briggle in 1900. Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris. In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes. Perfecting the distinctive dull or matte glaze In 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history. Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895. In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame. Van Briggle Memorial Pottery Pottery loses its founder Artus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade. Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis. Surviving disaster and war The pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort. With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations. In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

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530 gram Huge Vintage Sterling and turquoise Native American Squash blossom necklace. Nice old very big necklace from the 60's or 70's, hallmarked as shown,<br>unsure of Artisan. 26" long, 530 grams, 4.75" tall x 4.5" wide Naja. Marked and<br>tested sterling silver.

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Early 1920's Van Briggle Rabbit Paperweight in mulberry. No cracks, chips, restorations or crazing. 3 7/8" long x 2.5" tall. tw122Van Briggle Art Pottery was at the time of its demise the oldest continuously operating art pottery in the United States, having been established in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. Artus had a significant impact on the Art Nouveau movement in the United States, and his pottery is foundational to American Art Pottery. The Art Nouveau style favored by its founders continues to influence the pottery's designs. Artus Van Briggle settled in Colorado Springs in 1899 after establishing himself as a notable artist with the Rookwood Pottery of Ohio. With Anne Louise (née Gregory), his new wife, Artus began exploring the Art Nouveau style in their pottery creations, drawing awards and accolades from the American and European art communities. Although he was a talented painter who had displayed and won awards in Europe, from 1899 until his death Artus devoted himself almost exclusively to the craft and art of pottery. Van Briggle's Art Nouveau designs and distinctive matte glazes were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston.The Van Briggle Pottery Studio closed in spring 2012Artus Van Briggle in 1900. Born to artistic parents on March 21, 1869, Artus Van Briggle had an early introduction to painting using materials found about the home. The Van Briggle family lived in Ohio, one of America's hotbeds of ceramic design. At the age of 17 he moved to Cincinnati, Ohio, where he decorated china dolls at the Arnold Fairyland Doll Store, while attending his early art studies at the Cincinnati Art School. After a stint at the Avon Pottery where he was introduced to the ceramic arts, Artus took a job at Rookwood Pottery; there he excelled at hand-painting designs. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris.In Europe, he was exposed to styles of art and became infatuated with an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. Artus also met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Finishing their Paris studies in 1896, they returned to America. Artus resumed his work at Rookwood and also started sculpting and experimented with recreating the lost Ming Dynasty glazes.Perfecting the distinctive dull or matte glaze In 1899, struggling with health issues due to tuberculosis, Artus left Rookwood and moved to the drier air of Colorado Springs, Colorado. Upon befriending the Holmes family of Chico Basin, he stayed at the HOP Ranch during the summers of 1899, 1900, and 1901 to reduce work stress and regain strength while pursuing his own styles of pottery, centered around the Art Nouveau movement. He continued his research on the ancient matte glazes that fascinated him in Paris. After two years of trials and experiments a matte glaze was perfected. One of the matte glazes perfected by Artus was the matte blue glaze, based on an ancient Chinese process that had long been lost to history.Artus opened Van Briggle Pottery in 1901 and was joined by Anne Gregory, who took a position as a high school art teacher in Colorado Springs. In 1903, Artus Van Briggle was appointed First Director of the Department of Art and Design in Colorado College, succeeding Louis Soutter, a Swiss artist (born in Geneva, Switzerland) he met in Paris in 1895.In 1902, Anne and Artus were married, and she devoted herself to their pottery; she created designs and collaborated in all aspects of the enterprise with her husband. Late 1902 brought Van Briggle awards for his glazes and designs in Art Nouveau from the prestigious Paris Salon; he was now an accepted artist. During their early years, Artus and Ann established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame. Van Briggle Memorial Pottery Pottery loses its founder Artus Van Briggle died in July 1904, at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. In 1907, Anne and pottery stockholder and city-founder William Jackson Palmer began construction on a new pottery on Uintah Street. The Van Briggle Memorial Pottery — designed by Dutch architect Nicholas Van den Arend — was opened in 1908 and stands today as an historic landmark noted for its architecture and use of ceramics in the facade.Having remarried in 1908, Anne Louise Gregory Ritter leased the pottery in 1912 to Edmund deForest Curtis, who ran it until 1916. She sold the company in 1922 to J.F. and I.H. Lewis and moved to Denver the following year, where she would concentrate on painting and where she remained until her death in 1929. In her absence, the pottery fell under financial hardships and was sold at sheriff's auction; later it was re-sold, once more becoming the property of Mr. Curtis.Surviving disaster and war The pottery was sold twice more in the ensuing decade and survived a fire in 1919 that gutted the interior but left the brick shell and kilns. New owners I.F. and J.H. Lewis took the opportunity to modernize and expand the facility beginning in 1920 and stabilized the production and financial aspects of the pottery for the first time. Despite damage from the flood of 1935—the most destructive flood in Colorado Springs history — that destroyed much of the company's records and molds, the pottery continued to enjoy success up to World War II, when they closed for approximately three years as the United States focused its resources on the war effort.With the increase of interstate travel in the United States a freeway was planned in 1953 for Colorado Springs which J.H. Lewis estimated would run through the Memorial Plant site. Although the freeway eventually was planned to avoid destroying the historic pottery, Mr. Lewis nonetheless put into action plans to relocate the pottery to a higher-traffic area of Colorado Springs. In 1955, Mr. Lewis and Clem Hull brought a new facility on line at a renovated railroad roundhouse on Midland Road. The new facility, known as the Midland Plant, had a smaller capacity but enjoyed quick success due to its location on the main highway to the Garden of the Gods and other tourist locations.In 1968, Mr. Lewis sold the Memorial Plant to Colorado College, and it fell into disrepair for the ensuing 40 years, being used variously as offices and storage.

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Antique Mesh Masquerade mask. Extremely cool and old, not 100% sure what it's<br>original intent was, maybe halloween, Mardi Gras, Maybe theatre, works well with<br>no significant issues. Mesh part is 9" tall x 6.75" wide. Painted accents with<br>most paint intact.

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16" Los Castillo Modernist sterling and turquoise choker necklace. 16" long 14mm<br>wide, no issues, likely simulated or block turquoise 53 grams, rare design.<br><br>Los Castillo Jewelry - History<br>Antonio Castillo and his brothers Jorge, Miguel, and Justo began Los Castillo in<br>1939. They had all apprenticed in William Spratling’s taller before starting<br>their own business in Taxco, Mexico. Antonio Castillo rose to the level of<br>master silversmith during his time working with Spratling.<br><br>The Los Castillo workshop trained and employed many skilled silversmiths over<br>its decades in the business, including the Castillo brothers’ cousin Salvador<br>Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van<br>Voorhies Carr. All these artists went on to open their own successful workshops,<br>including van Voorhies Carr who founded Margot de Taxco after she and Antonio<br>Castillo divorced.<br><br>Los Castillo is known for its quality silver wares as well as mixed metals that<br>incorporated copper and/or brass with sterling silver. Other decorative home<br>accessories can be found with silver plating and inlaid stone embellishments.<br><br>Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s<br>for William Spratling. He is known for his technical expertise and his design<br>talent. He developed the techniques for married metals, feathers with silver,<br>Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern<br>Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th<br>Edition), p. 86.

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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. Men's Size 11 Ring.

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c1910 Quezal Iridescent American Art glass diminutive bowl 4.5" wide x 1.75" tall with great  ridescence, no cracks, chips, or restorations.<br><br>toothpickdrawer<

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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. Albert & Jeanette Brown Navajo Tufa Cast Turquoise Cluster Cuff Bracelet. Fits<br>up to a 6 5/8" wrist, 1.25" gap, nice solid cuff with no issues. 107 gram.<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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Antique Engraved 14k gold Turquoise pin. Marked and tested solid 14k gold. Mark<br>is faint on catch, worn over time. Hand engraved, fantastic piece. 15/16" x 5/8"<br>x 2.5 grams.

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