Percy Tsisete Sandy Kai Sa(1918-1974) Handmade silkscreen print. 6" x 8" sight,<br>12" x 14" framed, some wear to frame, no damage to art.<br><br>Percy Tsisete Sandy was born in 1918 at Zuni Pueblo in northern New Mexico. He<br>was educated at the Santa Fe Indian School and at the Sherman Indian School in<br>Riverside, California. He married a young woman from Taos and went to live at<br>her pueblo.<br><br>Percy Sandy, who used his traditional name Kai Sa (Red Moon) in signing his<br>work, experimented with a variety of styles, mediums and subjects, but he<br>preferred to work in watercolor in a representational manner. Also known as a<br>muralist, his best known mural is at the La Fonda Hotel in Santa Fe.<br><br>Kai Sa’s work can be seen in the collections at the Gilcrease Institute and the<br>Philbrook Art Center in Tulsa, Oklahoma; the Heard Museum, Phoenix, Arizona; the<br>Indian Arts and Crafts Board, Washington, D.C.; the Museum of Northern Arizona;<br>the Museum of New Mexico; and the United Pueblo Agency, New Mexico.

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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 Southwestern sterling/turquoise cuff bracelet. 6.75" including 1" slightly adjustable gap. 32.9 grams with no damage or detectable wear, marked and tested sterling.

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Antique Russian 84 silver belt. Amazing item with no issues. Solid silver, Approx 34.5" long, would make a cool necklace. 133.9 grams.

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French 1782 1/5 Écu - Louis XVI Silver coin in sterling bezel pendant. Authentic coin with rare Perpignan mint mark. 917 silver coin in unmarked (tested) sterling bezel 43.4 grams total weight. 2" wide x 2 5/8" tall.

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c1920's Art deco sterling enamel pin. Slight wear to enamel on rim, overall clean 22.3 grams 1.5" wide. anderas

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c1880 Antique Chinese Opium Scales. Very cool set with an incredible patina. Case measures 13.75" long x 3.5" wide no issues or damage. Difficult to find with the counterweight and leather that keeps it together intact. Lots of writing Front, back, and inside brass plate, nicely carved also.isshelf

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Vintage Teague North Carolina Pottery Creamer and Sugar. These were both in the same estate but other than both being great in their own rights I don't think they match. Creamer 5" wide with handle x 3.5" tall. Both with no damage or restorations. Selling both for one price. isshelf

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Antique Hussar/Fireman Brass helmet. Lightweight brass helmet for a small head. Two crude copper patches and repair to bill. The badge on front appears to have been possibly added later but looks really old. Missing Chin straps and side ornaments. Overall with nice patina appearing to be an authentic helmet of some sort to me. Years of built up polish residue. I've had this for awhile but have a baby on the way very soon so I'm forced to make decisions about things I was unsure of, I'd be grateful for any info. It did come from a collection of worldwide weapons, armory, and many other interesting items.

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c1940's Extra Special Dishta Style Zuni turquoise and jet ring. Interesting hallmark on back unidentified by me. 3.1 grams size 5.5 with no issues. All precious metals are tested and guaranteed,

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1930's McCoy Angelfish pitcher. Better Glaze and stronger embossing than on most. 6" tall with no cracks, chips, or restorations, tiny glaze flake on inside rim near spout. isshelf

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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 7/8" Jimmie King Jr Navajo silver Coral, onyx, and Shell channel inlay Cuff<br>Bracelet. 190.4 grams, fits up to a 6 7/8" wrist including the gap.<br><br><br><br><br>For over a quarter of a century, Navajo silver and goldsmith Jimmie King, Jr.<br>excited the imagination of jewelry lovers. His unique heavy metal work style and<br>delicate inlay earned him a reputation as a master jeweler.<br><br>His work is a combination of strength and delicacy. The most common reaction<br>when people first pick up a piece of his work is to comment on the weight of the<br>jewelry. It feels substantial. It is inlaid with precision and color awareness,<br>marking it as King's alone. King was particular about his work, refusing to<br>hurry a piece and willing to melt it down if unsatisfied with the result. Every<br>piece is hand-built and finished.<br><br>He lived and worked just off the northern edge of the Navajo reservation near<br>Farmington, New Mexico. His interests included reading, learning new things, and<br>listening to opera as he created his jewelry.<br><br>King created the inlay cube, the solid link bracelet with an inlaid clasp, and<br>the "Sky High" bracelet. He has won top awards at the Gallup Intertribal<br>Ceremonial and featured in several books and magazines about Native American<br>art. His jewelry is signed in cursive "JR" for his name's first and last<br>initials. Six dots in a semi-circle above the letters stand for the six sacred<br>directions: North, East, South, West, the Sky, and the Earth.<br><br>Years ago, in a ceremony, a medicine man told him that if he put these dots on<br>his jewelry, everything would go well for Jimmie - it appears he was right.<br><br><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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c1920 Judd Cast Iron Art Deco Ship Towel rack. 7.75" wide x 6.5" tall, great uncommon functional antique with no damage. THE JUDD COMPANY WALLINGFORD, CN 1830 - 1954 The Judd ancestry can be traced back to Deacon Thomas Judd who came from England and settled in Cambridge, MA in 1633/4. Deacon Morton Judd, born in 1808, learned his trade in a brass foundry and then, established his own business in 1830. In 1833, Morton's brother, Oliver S., joined the company as partner and the name was changed to M & O.S. Judd. In 1853, Morton's eldest son, Albert, replaced Oliver S. as the business partner. And, the company's name was changed to M. Judd & Sons. In 1863, Albert purchased the business and sold it back to his uncle, Oliver S. In 1865, Morton and Albert formed their own company to manufacture "Builder's Hardware" in New Haven, CN. In 1870, the business evolved to the Judd Manufacturing Company when Edward, Oliver S.'s brother, became President. In 1877, Morton and his three sons, Albert, Hubert L. & Edward, erected a plant in Wallingford, CN where they began a busness to manufacture Stationers' and Druggists' hardware. It was during this time that the company became well known for their still and mechanical banks. (The first mechanical bank had been introduced in 1869. This bank was known as "Hall's Excelsior" made by J.& E. Stevens.) Judd banks were usually finished in a brown or maroon lacquer and were washed in a green coloring. Not until the early 1910's, did the company start making "Cast Iron " decorative products, such as, Doorstops, Bookends, Doorknockers, Inkwells. The Judd Company was sold to the Stanley Works Company in1954. isshelf

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Antique Chinese brass ink box with carrying net. 3" wide x 1.75" tall without the net with no damage, I acquired it with this net around it which seems plausible.

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Vintage Tufa cast Silver Channel inlay Coral and jet squash blossom necklace.<br>Signed DTB on Naja 27" long 2 5/8" x 3" naja, 276 grams with no issues.

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18th Century Rudolstadt Volkstedt Napoleonic Horse figure. I guarantee this figure to be 200+ years old. If it is actually a depiction of Napoleon's horse then it would be early 19th century, but I believe it be from the last decade of the 18th century. 5 7/8" tall x 6.5" long, with a very old professional restoration that is now flaking off on the mid to upper body of the horse. Volkstedt Porcelain - History In September 1760, Georg Heinrich Macheleid (1723-1801) made a request to Prince Johann Friedrich, Fürst von Schwartzburg-Rudolstadt to establish a porcelain factory in Sitzendorf, Thuringia, Germany. Macheleid previously worked at a glass factory in Glücksthal. Independent of the ceramicists at Meissen, Macheleid conducted his own research into creating a hard paste porcelain.Prince Johann Friedrich granted Macheleid’s request in 1762 with the stipulation that the plant be located near his court in Schwarzburg-Rudolstadt. Macheleid established the Aelteste Volkstedter Porzellanfabrik (Oldest Volkstedt Porcelain Factory) in Volstedt which became part of Rudolstadt in 1923. Macheleid created a self-sustaining village for his workers.In 1767, Macheleid left. The factory came under the control of the prince, his wife, his son, and five other investors. They leased the factory to Christian Nome from Erfurt. During the latter half of the eighteenth century, Volksted gained a reputation for its well modeled and painted figurines, rivaling those of Meissen. In 1793, Prince Johann Friedrich purchased all outstanding shares. In 1797, Prince Ludwig Friedrich, Johann’s successor, sold the factory to his brother-in-law Ernest Constantine, Landgrave of Hesse-Philippstahl, who sold it to Wilhelm Greiner and Carl Holzapfel several years later. Nome left around 1800.isshelf

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18th Century Meissen Figure. 5.5" tall x 5.25" at widest point. Very old<br>professional restoration to left arm, loss to ribbon/flowers in hair and a few<br>tiny chips on ruffles and lace.<br>figcab

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C1890 10.25" RS Prussia Bowl. No damage of any type or restorations, wear to rim gilding. tw271

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c1926 Roseville Carnelian II Art deco vase. Wonderful blue/green matte glaze with no cracks, chips, restorations, crazing, scratches, or detectable flaws. 8.25" tall.

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Antique Japanese Meiji period cloisonne vase 7.5" tall, a few very small pin sized spots, one very small ding to the right of the decoration shown in the last pic. Signed on base mostly covered by Christies label.

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1950's Moko Lesney Matchbox 59 Ford Singer sewing machines van with box. Clean box, I see some tiny specs on bumpers but I believe they are silver paint from headlights/grill. Not 100% sure, could be a tiny nick or two on bumpers, no wear or touchups anywhere else.

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1960's Matchbox Y-15 Models of Yesteryear 1929 Bentley. This is in the wrong box as shown, box is rough, a few pinpoint sized paint nicks to car, no touchups.

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17" Antique Chinese Carved wood Buddha statue. 18th-19th century antique figure, previously sold at Christies East with label intact. 17" tall x 7" wide, repair to hand as shown.

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1960's Matchbox Y-8 Models of Yesteryear 1914 Sunbeam Motor Cycle in Box. Mint toy with no wear or touchups, near mint box.

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c1940's Hopi Shallow bowl. 6" x 1.5" with no damage or restorations, some minor<br>rim wear and wear to decorations.

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Antique Chinese cinnabar plaque 3 3/8" x 2 5/8". Nice early hand carved cinnabar<br>plaque, not resin. Some wear to edges, metal frame loose on two sides. Likely<br>once mounted in a table screen<br><br>isshelf

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1972 Edna Mathes Enamel on copper Bowl. Very cool example with textured design 9" wide with no damage or restorations. isshelf

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c1920 Antique Chinese carved Jadeite sterling mounted Jewelry set. 16" long necklace, 7.5" long bracelet size 6.25 ring, Jadeite pieces measure approx 23mm x 16mm each. All pieces marked sterling with no other detectable markings. These Jade pieces were carved in China in the first quarter of the 20th century then exported to the US where they were set in sterling jewelry and retailed. 42.4 grams total.

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1940's/50's Frankoma Ada Clay Large Turquoise Blue vase 10.25" tall with no cracks, chips, restorations, or detectable wear. The base of this piece looks really old, It may be Blue/gray jade color, this was part of a large collection of old blue Frankoma I purchased from the family of a lifelong collector, there were many variations in color and I'm not a world renown expert on Frankoma, it's beautiful, early and blue/green.

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Collection Antique Chinese Jadeite, Silver, coral, and nephrite pins. All 19th to early 20th century, all from same estate collection. The celadon and russet Jade tiger pin is 2" x 1 1/8", that should give you a good idea of size of other pieces. All pieces with high content silver mountings. Selling the 5 pins shown.

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3 Miniature 17th/18th century Bronze and wood Buddha figures. Traces of gilding<br>and lacquer. Very old estate fresh from a collection of mostly Chinese antiques<br>which had been in the family for multiple generations. Two smaller ones are<br>bronze, smallest 1 5/8" tall, tallest wood with traces of filding and lacquer is<br>2 5/8" tall. Selling all three for one price, some loss to wood figure as shown.

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Vintage Ceramic pill box with hunter. Perhaps some sort of salve jar. 1.25" tall<br>and wide with no damage.<br><br>trinketdrawer

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c1790 Battersea Box with Ship. Late 18th to early 19th century. 2" x 1 5/8" lid<br>snaps shut and stays shut, minor damage to enamel on base, no damage to lid.<br><br>Battersea boxes developed in the mid 18th century as tiny decorative containers<br>covered with enamel or porcelain and decorated with pleasing designs. Originally<br>the boxes were made of copper covered with white enamel, decorated with<br>classical or scenes or portraits. They evolved over time to become more<br>sentimental.<br>The Battersea box got its name from a firm under the tutelage of Sir Stephen<br>Theodore Janssen, Once Lord Mayor of London at York House in Battersea. The<br>boxes were decorated by transfer printing, which took an impression from an<br>engraved plate painted with enamel and printed on to the box which was then hand<br>painted and fired. The firm existed only from 1753 to 1756 however other firms<br>producing similar boxes, especially those in the village of Bilston, took up<br>this technique. Battersea became the collective name for all such boxes.<br>With advancements in the pottery industry due to the Industrial Revolution,<br>Battersea boxes gradually fell from favour. Allowing small boxes to be produced<br>at less cost than the enameled competitors made Battersea boxes decline<br>significantly by the mid 19th century. They became popular again in the second<br>half of the 20th century with the development of commemorative boxes produced<br>for such well known firms as Tiffany & Co.

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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" Vintage Navajo Cuff Bracelet watch band Sterling Turquoise. 6.5" inside<br>diameter including 1.25" gap. Nice solid heavy cuff with no issues, tests<br>sterling unmarked. 85.4 grams. I'm sure the watch needs a battery, honestly did<br>not check.

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C1820 Draisine Early Bicycle Battersea Box from Eleanor Roosevelt Estate. 2.25"<br>x 2 1/8" x 1" with some damage to the enamel on the base as shown, the top is<br>perfect. This is an extremely rare box and a rare early portrayal of one of the<br>first bicycles.<br><br>Battersea boxes developed in the mid 18th century as tiny decorative containers<br>covered with enamel or porcelain and decorated with pleasing designs. Originally<br>the boxes were made of copper covered with white enamel, decorated with<br>classical or scenes or portraits. They evolved over time to become more<br>sentimental.<br>The Battersea box got its name from a firm under the tutelage of Sir Stephen<br>Theodore Janssen, Once Lord Mayor of London at York House in Battersea. The<br>boxes were decorated by transfer printing, which took an impression from an<br>engraved plate painted with enamel and printed on to the box which was then hand<br>painted and fired. The firm existed only from 1753 to 1756 however other firms<br>producing similar boxes, especially those in the village of Bilston, took up<br>this technique. Battersea became the collective name for all such boxes.<br>With advancements in the pottery industry due to the Industrial Revolution,<br>Battersea boxes gradually fell from favour. Allowing small boxes to be produced<br>at less cost than the enameled competitors made Battersea boxes decline<br>significantly by the mid 19th century. They became popular again in the second<br>half of the 20th century with the development of commemorative boxes produced<br>for such well known firms as Tiffany & Co.

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c1880's Austin Fire Department Washington 1 Sterling Pin badge. Extremely rare<br>small pin badge from the last quarter of the 19th century to the very early 20th<br>century at the latest. As stated below the Washington 1 Station closed in 1916.<br>The Washington 1 was the first fire station in Austin as quoted below. This was<br>recovered by me in Austin in a bag including the letter I'm also including. I<br>purchased a large percentage of this estate from a family I know has been in the<br>same home since the 1920's. The Volunteer firefighter who wore this was a man<br>named John F Westlund (1858-1945) or there's a smaller chance it could have been<br>Lee Wesley Westlund (1891–1970) at a very young age. There's an Austin Fire<br>museum which I have not yet made it to that could likely confirm one of these.<br>Measures approx 1.25 x 5/8", marked sterling on reverse side. It has enamel<br>lettering with overall wear but is extremely rare and important.<br><br>The Central Station No. 1 wasn’t the first fire station in downtown Austin. In<br>1868 Washington Fire Company #1 was established on 6th Street. The first fire<br>engine, pulled by hand, was replaced by a steamer, which in turn was abandoned<br>when the water company changed to the Holly system in the early 1880s. The<br>engine company then was converted to a hose company.<br><br>Austin Fire Department: Volunteers to Professional Fire Fighters<br>Austin Fire Department began in the 1870´s with a very formal volunteer program.<br>The success of the volunteer organization actually delayed the need for a career<br>department until 1916. It was Austin’s businessmen and merchants who mainly<br>comprised the volunteer rosters. Many devoted their lives to the fire<br>department. In the spring of 1916, the citizens of Austin voted in support of<br>the creation of a paid, municipal fire department. Overnight, the department<br>went from more than 200 volunteers to 27 paid firefighters, working six 24 hour<br>shifts per week.<br><br>The first paid Fire Chief appointed by Austin city administrators was C.F.<br>Millett. Under Millett’s direction strict fire ordinances were passed and they<br>were effectively enforced by the dedicated volunteers. By 1874 the city council<br>establishing a fire department with a chief, assistant chief, recorder, fire<br>commissioners, and fire police. By 1880s Austin Fire Department included both<br>volunteer and paid firemen.<br><br>In June 1916, Clarence Woodward was appointed Fire Chief. The volunteer fire<br>companies disbanded and the fire department renumbered its fire stations and<br>renamed its apparatus which is still in effect today.<br><br>Washington #1 closed its station<br>Austin Hook and Ladder #1 became Truck Co. 1, Engine 1<br>Colorado #2 became Hose 1 at Central Fire Station 1<br>Protection #3 became Engine 2 at Station 2, and Truck 2 was created<br>East Austin #4 became Engine 5 at Station 5<br>South Austin #5 became Engine 6 at Station 6<br>North Austin #6 became Engine 3 at Station 3<br>West Austin #7 became Engine 4 at Station 4<br>Tenth Ward #8 became Engine 7 at Station 7<br>And Rescue #9 became Engine 8 at Station 8

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1776 Maryland Colonial Currency. Guaranteed authentic in the condition shown,<br>hand signed and numbered. 2.75" x 3.5".<br>isshefl

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Large Southwestern sterling shell and stone inlay pendant 4.5" tall x 2 1/16"<br>wide x 33.5 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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c1930 Chinese Republic Period Cloisonne 2 sided box. Great piece of Chinese<br>Cloisonne with no damage or detectable wear. Circa 1920's-30's. 2 Compartments<br>each measuring 3" x 2.5".<br><br>tw196

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c1900 French Porcelain topped trinket box with art glass base 1.75" wide late<br>19th to early 20th century 1 1/8" tall. No cracks, chips, or restorations, tight<br>hinge, lid snaps shut and stays shut.<br><br>trinketdrawer

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c1890 Nippon Hand Painted Dresser tray 12.5". Unmarked, likely from just before<br>1891 when they started using the Nippon mark as a legal requirement. No cracks,<br>chips, or restorations, expected wear to gilding.<br>isshelf

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c1900 Chinese Republic Period Cloisonne collection. Largest graduated bowl is<br>4.5" wide, Largest plate is 5.75" and 6 3/8" dragon vase. No damage or<br>significant wear to any of the pieces, selling all of the pieces shown. All old<br>pieces with an average age over 100 years, all Chinese.<br>tw196

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1971 Matchbox Superfast 5 Lotus Europa mint on card. One fold in card, mint toy sealed.

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1960's Matchbox Models of Yesteryear Y-8 1914 Stutz Sealed on card. Mint sealed on card with some wear to box.

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1984 Halcyon Days Christmas Enamel trinket box. Like new condition with no<br>damage or wear 1 5/8" wide x 1 1/8" tall. Snaps shut and stays shut securely to<br>the point of possibly being waterproof. No issues.<br><br>trinketdrawer

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Vintage Hand painted Limoges trinket box. Very nice circa mid 20th century gilt<br>metal mounted hand painted Limoges trinket box. Marked as shown 1.75" wide x 1<br>3/8" tall. Secure latch snaps shut and stays shut.<br><br>trinketdrawer

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Vintage Hand painted Limoges trinket box. Very nice circa mid 20th century gilt<br>metal mounted hand painted Limoges trinket box. Marked as shown 1.75" wide x 1<br>3/8" tall. Secure latch snaps shut and stays shut.<br><br>trinketdrawer

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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 Sterling Heart pendant on 20" necklace. Both James Avery<br>with no damage or significant wear, heart retired and difficult to find. Heart<br>1.25" tall x 1" wide 13.6 grams total weight. anderas

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2 Vintage Fenton Cranberry opalescent tumblers. Selling Both tumblers shown with<br>no damage. Tallest 4", other 3 5/8" tall. Both with factory ground rims, clean<br>with no chips or cracks.<br>isshelf

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1960's Matchbox Models of Yesteryear y-5 1929 4.5 Litre (5) Bentley, strong clean box with tiny tear by flap. One tiny pinhead sized nick to paint on rear passenger side fender. No other paint wear or touchups.

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c1960 Matchbox Models of Yesteryear y-10 1938 Mercedes Benz 36/220. Box in good condition, no detectable paint wear, no touchups, rear plastic seat has loss to one side, it's removeable and I assume they likely sell reproductions.

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c1960 Matchbox Models of Yesteryear y-14 Spyker Veteran Automobile. Good condition, one torn flap on box, a few pin sized paint flakes or dings, no touchups.

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Mid Century sterling and amber brooch. Nice pin with sterling and natural amber<br>about 50-60 years old. 12.2 grams 2 1/8" wide.

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1950's Matchbox Models of Yesteryear No 10 1908 Grand Prix Mercedes. Clean box, no touchups, near mint car with one tiny flake on base top center where the chain connects.

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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"Hopi Overlay Sterling cuff bracelet. Fits up to a 6.5" wrist, arrow hallmark<br>shown unidentified by me.<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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Antique Stevens and Williams Red and white cameo glass vase. 7.25" tall with no cracks, chips, or restorations. Late 19th to very early 20th century.Cameo glass is a luxury form of glass art produced by cameo glass engraving or etching and carving through fused layers of differently colored glass to produce designs, usually with white opaque glass figures and motifs on a dark-colored background. The technique is first seen in ancient Roman art of about 30 BC, where it was an alternative to the more luxurious engraved gem vessels in cameo style that used naturally layered semi-precious gemstones such as onyx and agate. Glass allowed consistent and predictable colored layers, even for round objects.isshelf

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c1940 Rumrill Art Pottery Vase and Candle holder with unusual sponged green matte glaze. Vase is 6" tall x 6.5" wide at the rim. No damage or restorations to either of the pieces, candle holders are unmarked but from the same estate and obviously match. Selling the set shown. George Rumrill, a Little Rock, Arkansas native, was a founder of the Arkansas Products Company. The Arkansas Products Company was formed to promote Arkansas made products. Two of the products that were promoted were Niloak Pottery from Benton and Camark Pottery from Camden. George Rumrill's position as a founder and promoter of the Arkansas Products Company gave him access to many of the two pottery's catalogs and products. At some point in time, the Arkansas Products Company came to pass and George Rumrill decided to create his own pottery company. Since he had no facilities in which to make pottery, he contacted existing pottery companies to create his line of pottery. RumRill's most popular designs were made by Red Wing Stoneware Company from 1933-1936 and Red Wing Potteries from 1936-1938. Shawnee produced RumRill Pottery in 1938 for a short time. Then Florence and Gonder potteries produced RumRill until his death in 1942. George Rumrill created many of his own designs. It is interesting to note, however, that there are a number of RumRill pieces that are known Camark shapes. With George Rumrill's access to the Camark catalogs and products, this should be no surprise. There are also RumRill pieces that were made from Red Wing molds. Some of RumRill's designs were produced throughout RumRill's existence by all of the contracting pottery companies.

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4 c1900 8.25" hand painted Dresden plates. Selling the 4 plates shown, finest<br>quality painting and porcelain. Hand written retailers name Wright, Tyndale &<br>Van Roden Philadelphia on back of each. No damage, wear, or restorations to any.<br><br>Wright, Tyndale & Van Roden Philadelphia was a very high end store which<br>specialized in selling porcelain during the approximate period 1880 until 1930<br>in Philadelphia. It sold Minton historical scene plates as well as many other<br>Minton, Limoges and comparable quality makers of porcelain. Later, similar<br>stores were Caldwells and Bailey Banks. Its predecessor store had Tyndale in the<br>name.<br><br>The term "Dresden porcelain" refers more to an artistic movement than a<br>particular line of figurines or dinnerware. Several decorating studios emerged<br>in this Saxony capital in response to the rise of "Romanticism" during the 19th<br>century. Dresden was an important center of this artistic, cultural and<br>intellectual movement, which attracted painters, sculptors, poets, philosophers<br>and porcelain decorators alike. In 1883, in response to the exciting<br>developments happening all around them, four prominent ceramic decorators<br>registered the famous blue crown Dresden mark, and the widely popular "Dresden<br>style" was born.

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12" tall Harding Black (1912-2004) Texas Studio Art pottery vase with the best<br>drippy Chinese Flambe glaze. 7" wide. Very imposing piece, 12 oz v8 can shown<br>for scale. 3 really small inconsequential flakes on footrim and a few glaze<br>skips on shoulder possibly intentional. No significant chips, no cracks, no<br>restorations. Very cool space age form on this piece.<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.<br><br>anderas

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c1900 Richard Klemm Dresden Salad plate set of 4, only one with full RK decorator's mark. All obviously from same blank and painting factory. No significant wear, no chips, no cracks. 7.5" wide, selling the 4 shown. isshelf

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c1900 23.75" Palatial Moser gold decorated vase. Entirely hand painted, huge piece 23.75" tall x 6" wide at the rim. Some wear to gilding, no cracks, chips, or restorations. Guaranteed late 19th to first quarter of the 20th century. Apparently unmarked other than the engraved number or initial inside the factory ground pontil.

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Antique Chinese Bronze Buddha. 6" tall x 3.5" wide at base. Traces of gilding<br>and lacquer. Very old estate fresh from a collection of mostly Chinese antiques<br>which had been in the family for multiple generations.

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Pope Paul VI Silver Rosary/pill box and Sterling keepsake pendant. Selling both pieces, they both snap shut tightly with an audible click and stay shut securely, there are no markings on the rosary box silver content unknown.

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Dishta Zuni and other Native American Sterling silver cross. Selling both<br>crosses with no issues. Tallest 2 5/8" tall, 21 grams total weight.. Selling<br>both the crosses shown.<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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Vintage Sterling Pins and pendants.. Selling all shown from about the mid 20th century with no damage or issues, Woman with Alpaca brooch is 2" wide.

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Vintage Sterling Pins and stickpin. Selling all three from about the mid 20th century with no damage or issues, Bird is 2.75" tall. All sterling 15 grams total.

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c1928 Fostoria Grape Orchid Brocade footed rolled edge bowl 11" wide x 3.75" tall. In my opinion Brocade which was produced by fostoria for just a few years in the late 1920's is the highest quality glass they produced from that period on. It's made like came glass, each piece was labor intensive. No damage whatsoever on this piece. isshelf

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1994 Arthur Court Easter Bunny Decorative charger 12 5/8". No surface wear, I'm unsure of metal content, it has a dark patina like silver and would polish if that is your preference. isshelf

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1970's MCM Copper enamel plaque. Very cool with no apparent signature, frame is plastic 7" total width. tw271

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18th Century KPM Berlin Porcelain Woman with pear in hand figure. Woman with a pear in her hand : KPM Berlin, 18th century. Designed by Friedrich Elias Meyer in 1765, standing on a three-passage base with tree support. Porcelain with polychrome painting and. Underglazed blue sceptre and impressed v. 8.5" tall with loss to each of the three bowl and wear to gilding at base. No other chips, cracks, or restorations. issshelf

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Vintage Native American Sterling Multi-Stone channel inlay bracelet Fits up to a<br>6" wrist, 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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Hutschenreuther Porcelain Mallard Duck in flight. Amazingly no damage on this delicate figure. 5.5" wide x 4.5" tall, best quality hand painted figure.

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c1890 Antique French Marquetry glove box with brass/mother of pearl inlay. 12 1/8" x 4.25" x 3.25" tall extremely clean with no issues. Nice antique box with no identifying marks, no key present. tw270

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1960's Matchbox Models of Yesteryear Y-14 1911 Maxwell Roadster in box. No touch ups, clean box, tiny dings on each of the pieces that stick out in the back, I guess they'd be steps, apparently missing license plate.

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Large Mottahedeh Vista Alegre Chinese Export Style porcelain jug with lid 11" tall x 9.5" handle to spout with no cracks, chips, restorations, or detectable wear.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. c1950's Navajo Silver and turquoise stamped bells bracelet Fits up to a 6.75"<br>wrist 72 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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Jerry Cowboy Navajo Sterling silver Multi-stone channel inlay bracelet. Fits up<br>to a 6.5" wrist.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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c1940's William Spratling(1900-1967) Taxco Sterling silver Mask Bracelet. Fits up to a 6.5" wrist, 1" gap 126.8 grams with no issues. Spratling, an architect and artist who taught at Tulane University in New Orleans, came to Mexico in the late 1920s and settled in the city of Taxco. Having developed an interest in Mesoamerican archaeology and culture from his colleagues at Tulane, he traveled to Mexico for several summers lecturing and exploring. He sought out remote villages in the state of Guerrero, 110 miles from Mexico City, where in some places Nahuatl, the Aztec language, was spoken. Spratling collected artifacts and contemporary indigenous crafts. Spratling made a fortune manufacturing and designing silver, but his true life's work was to conserve, redeem, and interpret the ancient culture of his adopted country. He explained for North American audiences the paintings of Mexico's modern masters and earned distinction as a learned and early collector of pre-Columbian art. Spratling and his workshop gradually became a visible and culturally attractive link between a steady stream of notable American visitors and the country they wanted to see and experience. Spratling had the rare good fortune to witness his own reputation -- as one of the most admired Americans in Mexico -- assume legendary status before his death. William Spratling, His Life and Art vividly reconstructs this richly diverse life whose unique aesthetic legacy is but a part of its larger cultural achievement of profoundly influencing Americans' attitudes toward a civilization different from their own.

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1970's Lalique Nina Ricci Bath salts box. These bath salts were bought fifty years ago and never used. A half century old bath crystals ready for current use and a magnificent Lalique frosted crystal vanity box as a premium -what a premium! Rene Lalique frosted glass box with molded relief decoration of a pair of love doves on l the lid. 5.5" wide x 3.5" tall. Near microscopic chigger bite on the very inside rim on the lid shown top center of the 5th picture. No other damage or wear. isshelf

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Antique Art Nouveau Sterling and Coral pendant/brooch. 2 3/8" x 1 7/8" x 17.1 grams with no issues. Hallmarked as shown, very high quality piece.

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Retro Modernist Sterling Rhodochrosite/jade pin 5" x 1.25" x 27.7 grams with no issues.

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7" Garcia Santa Fe Southwestern sterling and turquoise bracelet, fits up to a 7"<br>wrist, 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.<br><br>anderas

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c1970's Vintage Native American buttons. The coral ones appear to be signed IUZ on the back, turquoise EUZ. All apparently purchased at the same time with old c1970's prices on them. Turquoise are 11/16" wide, coral 1 1/8" wide, all with no issues. 23.5 grams total weight.

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3 Dave Pino Navajo Sterling Malachite/Onyx pendants. Buying the three pendants shown, two largest 2 7/8" tall x 1.75" wide, 89.2 grams total weight.

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Large Vintage sterling chain. 18.5" long 10mm wide 84 grams of solid sterling silver with no damage.

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1960's Matchbox King Size K-7 Refuse Truck. 4.5" long truck is near mint with no detectable wear. Box is rough as shown.

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Vintage Navajo Sterling on Brass Coral cross necklace. Very well made, attractive and unique design with no significant issues. Cross is 4.25" x 3", necklace is 23" long. No identifying marks. 179.1 grams All precious metals are tested and guaranteed,

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large retro 14k gold on Sterling abstract modernist earrings. Each with strips of solid 14k gold (marked and tested) mounted on a sterling base. Very well made pair of earrings with no issues. Marked 14k Sterling, and M J Artisan's mark. 1.5" tall x .75" wide x 13.3 grams.

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Handmade Retro Artisan Sterling copper - Mother of pearl and obsidian pin 3" x 1<br>3/8" x 8.8 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.<br><br>anderas

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Large Vintage AIS Sterling/Turquoise Asian style pendant/brooch. Turquoise frog and bottom section, really cool marked and tested sterling. 4.75" long 84 grams.

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c1960 Matchbox Lesney 29 Austin A55 Cambridge. Clean box as shown, slightest wear to strip between drivers window and windshield, likely a factory flaw, no other dings or loss, front and back not shown are perfect.

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1960's Matchbox 69 Nestles van in box. Some wear to box as shown, a few tiny specs of worn paint as shown. Front and back that aren't shown in pics are perfect.

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1960's Matchbox 2 Muir-Hill Dumper with box. Very clean box, mint car with no paint loss, front and back are perfect the photographer forgot to picture them on a ton of cars and I don't have time to take more pics.

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Mid Century Margot De Taxco Sterling silver pin. No damage or significant wear,<br>1.5" x 1.75" x 8.9 grams. -Anderas-<br><br>Margot Van Voorhies was born in 1896 in San Francisco, California. By the time<br>she left her native country for good, she had survived the death of her father<br>in 1903, the San Francisco Earthquake in 1906, the loss of her mother at the<br>hands of a er in 1931 and the end of her first marriage in 1936.<br><br>Fortunately, a Mexican vacation changed the life of Margot Van Voorhies in ways<br>she could never have imagined. In 1937, forty-one-year-old divorcée Margot Van<br>Voorhies left San Francisco on a trip to Mexico City. Fate threw her into the<br>path of Don Antonio Castillo, who took her to Taxco, a Mexican hotbed for the<br>design, crafting, and production of silver objects, in particular jewelry and<br>housewares.<br><br>Soon, Castillo would become Margot’s second husband. At the time, Castillo was<br>working for William Spratling, a pioneer in Mexican silversmithing. He brought<br>Margot into the business as a designer, helping her to transform her paper<br>creations into three-dimensional forms in silver. In 1939, the pair, along with<br>other members of Castillo’s family, opened shop as Los Castillo Taller [Taller<br>is Spanish for “Workshop”], with Margot as the top designer.<br><br>After ten years, the marriage between Castillo and Van Voorhies dissolved, as<br>did their professional association. Margot went on to open her own shop in 1948,<br>taking the name Margot de Taxco, by which she is best known today. Seven years<br>later, enamel was added to many of her pieces, and this is where Margot found<br>her legacy.<br><br>At the peak of her career, Margot, who designed each piece herself, had two<br>dozen silversmiths and a dozen enamellists in her employ to execute her vision.<br>The men performed the duties as silversmiths; the women did the enamel work,<br>using tiny brushes to bring the watercolor drawings to life. To ensure the<br>accurate rendering of her jewelry designs, she compiled a book of instructions<br>and drawings, detailing the construction and finishing of each. Margot attracted<br>talented craftsmen who later went on to cement their own reputations, such as<br>Sigi Pineda, Miguel Melendez, and Melecio Rodriguez.<br><br>Many contemporary Hollywood celebrities were clients of Margot, including John<br>Wayne and Lana Turner, who visited her shop every year.<br><br>Tragedy struck in the form of a fire in 1960. Forced to move her studio, she<br>never again regained her prior success, and the business folded in 1974. Margot<br>granted several of the silversmiths in her employ permission to use her molds to<br>create pieces on their own, in return for debt forgiveness. As a result, many of<br>Margot’s pieces were re-created by silversmiths such as Jaimie Quiroz and<br>Geronimo Fuentes, bearing their hallmark rather than hers.<br><br>Margot passed away in 1985. But her talent as a designer and her influence as an<br>artist have continued to gain recognition since the time of her death.<br><br>Margot’s shop produced some repousse silver (a technique where a raised or<br>relief design is hammered in from the reverse side of the piece). But she is<br>best known for her champlevé enamel work. Champlevé is created by carving,<br>etching, striking, or casting troughs or cells into the surface of a piece and<br>filling it with vitreous enamel. In Margot’s jewelry, the designs were<br>die-struck, a process that was detailed and critical to the final product.<br><br>Margot produced many suites that included necklaces, brooches, bracelets, and<br>earrings, as well as convertible jewelry. Margot de Taxco jewelry is recognized<br>for its elegance, femininity, and variety.<br><br>There were many areas of influence that can be found in Margot’s work. Her fish<br>and wave motifs celebrated her love of Japanese art. The ornate swirls and<br>floral motifs were reminiscent of the Art Nouveau style. Mischievous<br>pre-Columbian figures were a recurring theme. Art Deco style ballerinas struck<br>graceful poses. Margot was also taken with Egyptian motifs and Mexican crafts.<br><br>Margot de Taxco pieces are distinguished by the stamp that includes her name,<br>Eagle 16 (or Eagle 1, for her earlier works), along with a production number.<br>Issued by the government, the eagle stamp was a way to identify th

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1950's Matchbox Moko Lesney 36 Austin A50 with box. No wear whatsoever to car, front and back are perfect even though my photographer forgot to picture them, box is missing a flap and has some wear as shown.

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c1960 Matchbox 33 Ford Zephyr 6. No paint loss, front and back bumpers perfect even though not pictured, One side appears to have faded paint, box is clean as shown.

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c1960 Matchbox Models of Yesteryear Y-7 Mercer 1913 Raceabout type 35j. Never played with near mint to mint with some light wear to box, no touch ups.

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