c1920 Kenton Cast Iron Statue of liberty bank. 2.25" square base x 6.25" tall No breaks, worn original paint. B70

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Georg Jensen Sterling Silver Art Deco Flower Pin. Selling one with another available if you change the qty. 1 3/16" x 1 5/8" 11.5 grams in great vintage condition with no significant issues.

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Vintage Native American sterling chunky turquoise cuff bracelet. Fits up to a 6 7/8" wrist, 1 3/8" gap 60.1 grams with no issues.All precious metals are tested and guaranteed,

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c1910 Cast Iron Still Bank Buildings. Selling both from the first quarter of the 20th century with no damage and good paint. Tallest 4.75" B70

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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. Heavy Vintage Zuni Channel inlay cuff bracelet. Very well made cuff with natural stones and shell, the stones are very secure, there are some open channels that I believe were intentionally left open by the artisan when he made the cuff to give it character, you be the judge. 1 1/8" wide, fits up to a 7 3/8" wrist, 1.5" gap. 124.7 grams.All precious metals are tested and guaranteed,

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c1920's Boy Scouts of America Troop 29 Wilmington DE. Rare one of a kind Boy scout sign from the first half of the 20th century. 11.5" tall x 8.25" wide without hanger. The hanger has a 29 stamped in the copper and 29 is scratched twice on the back. It has two holes in the bottom of the sign where another sign likely hung below it probably saying "troop 29" This was found by me in Austin, Texas fresh from an Estate but the clues lead me to believe it's from Troop 29 Wilmington DE which was founded in 1919 but closed in 1920 then later opened in 1928. The patina and a lifetime in this business lead me to believe it's either from right at 1919 or 1928, I'm not going to guess which one but I'm 100% sure it's a very old item 80+ years old. Natural expected wear. TW68

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1930's Hines Advertising Puppy Paperweight Griswold?. I know some of these were made by Griswold, some Hubley. I also Heard Hines was a flask company. I don't know everyone seems as confused as I am. I know it's 80+ years old, I'm 100% sure. 1.75" tall, very heavy for it's size, original paint. isshelf

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Large Vintage Kabar Pocket knife. Nice old knife, I believe mid 20th century.<br>5.5" closed, tight knife with no wobble. Blades are sharp with some rust/pitting<br>shown.

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10 1950's English Pottery Figural Egg Cups. Selling the set from the mid 20th century with no cracks, chips, or restorations. 2.5" tall with 1.5" opening to hold egg at top. TW68

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c1910 Royal Rudolstadt Rose O'Neil Kewpie Cup and Saucer. No damage, slight wear to gilding. 5 1/8" wide saucer. This is not a dollhouse sized teacup, larger than demitasse/espresso cup, but smaller than the big english bone China type teacups. isshelf

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Mary Alaku Inuit Stone Carving. Nice vintage carving from the last quarter of the 20th century. Measures 8" x 5" x 1.5"-2" as the stone is curved. Very small amount of wear on a few of the corners, no significant issues. TW107

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c1915 Art Deco Sterling Schmitz & Moore Mechanical crumb brush. Extremely rare item for the super elite of the first quarter of the 20th century. Table sized mechanical cleaning brush, or perhaps for bed. I've never seen another like it so I'm really not 100% sure of it's original intended use. Solid hand engraved sterling other than brushes, mechanism and handle of course. Handle a little loose, seems to work as it should. You have to press down to engage the brushes as you would the larger version of these that people used to use. 205.3 grams, 4" wide x 7.5" from bottom to end of handle.

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1950's Hummel Full Bee tk2 Surprise 4.25". Crazing in very few places, no cracks, chips, or restorations. humshelf

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Chinese Republic Period Nephrite Jade Buddha on Fitted wood stand. Nice piece from the first half of the 20th century with no damage. Nice no brainer patina to fitted wood stand I left buddha dirty, while he's beautiful because he's an interpretation of Buddha I'm sure he'd look better clean. Nice hand carved natural jade. 3 7/8" tall with stand and 3" wide stand. b32

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c1950 Japanese Tin Cowboy Sparkling Pistol Toy. Box is 3 5/8" wide, makes a dramatic sound and a wheel turns inside when trigger is pulled. Very clean estate fresh condition with box. isshelf

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6 Rare Antique Sterling world traveler Demitasse spoons. Little spoons, penny shown for scale, longest 4.75" long. Average age 100 years, some older, some newer. One with enamel loss, pietro, loss to white enamel on handle which is strange. No other issues. Selling the lot shown.

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Ming Chinese Porcelain Bowl with blue underglaze decoration. 5.5" wide x 2.75" tall with no cracks, chips, or restorations. Some crazing all of which doesn't go through to other side, the bowl rings well, it's not cracked just over 300 years old. I believe this is a Wanli shipwreck piece. tw158

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c1900 Dresden hand painted covered box. Small butter tub form, 4.25" wide underplate x 2" tall with lid. Impressed Meissen with dresden decorators mark. No damage or restorations. isshelf

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Large c1900 Japanese Champleve Vase. Great piece from late 19th to first quarter of 20th century. 12" tall x 8" wide, nice heavy piece. Looks to have once been drilled to make a lamp and later the hole was plugged. It currently holds water with no detectable leaks. Nice form on this one.

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Vintage Venetian cobalt blue gold and controlled bubbles ewer form sculptural<br>vase. 18.5" tall x 9.25" handle to spout. Vintage piece from about the mid 20th<br>century, high quality Italian glass that has been displayed in a safe place well<br>preserved for many years. It will be packed and shipped with the upmost care to<br>insure the pressure is not on the handle, spout, or stem.

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Antique Japanese bronze Yatate Portable inkwell collection. One shaped like an<br>antique , longest 7.5"<br><br>Japanese Antique Yatate<br><br>The Japanese yatate is defined as a relatively small, portable, case used to<br>hold a Japanese writing brush (fude) and ink (sumi). In old Japan, yatate were<br>stashed in the obi (kimono belt) so that when one needed to jot down a quick<br>note or letter, they could pull the yatate from their belt, remove the brush<br>from the yatate handle, perhaps add a drop or two of water to the ink basin and<br>start writing.<br><br>tw147

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c1950 Hummel Full Bee mark Baby wall plaque. 5.25" wide with no cracks, chips, crazing, or restorations. humshelf

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Longest 9.5", all solid bronze, only one apparently marked. Japanese Antique Yatate The Japanese yatate is defined as a relatively small, portable, case used to hold a Japanese writing brush (fude) and ink (sumi). In old Japan, yatate were stashed in the obi (kimono belt) so that when one needed to jot down a quick note or letter, they could pull the yatate from their belt, remove the brush from the yatate handle, perhaps add a drop or two of water to the ink basin and start writing. tw147

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c1890 Majolica Vases with Silverplate Mounts. 8.75" tall x 5.75" wide, rare and unusual. minor loss to a few petals which appears to have been touched up. No major loss, no cracks, one of the silverplate tops looks slightly bent on the back. No identifying marks other than a few scratched numbers on the frames which I'm assuming are silverplate. No wear to the plating, just some tarnish. b12

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c1910 French Cameo Glass Sterling base Shot glass Cordial. Hallmarks on both sides of sterling base, tests sterling. 2" tall with no cracks, chips, or restorations.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. B70

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Antique Japanese Bronze Hand Mirror. Great piece from the 19th century. 11.25"<br>long x 7.25" wide with expected oxidation.<br>TW158

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Antique Ottoman Empire Brass Cartridge box. 5 1/8" x 4.25" with no issues. TW147

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1874 Antique American Painted Tin Shorebird decoy. Great folding decoy from the last quarter of the 19th century with good original paint with a few expected dings likely from stray pellets. 9.5" long x 10" tall with stand. Stand of course was made later for display purposes and the fit isn't the greatest. The stick, copper fitting and tin bird are all original. B70

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1851 Minton Majolica Charger with scene. Extremely rare 14 1/8" large Minton<br>Majolica Charger with Minton's 1851 date mark, I could find no other markings.<br>No chips, cracks, or restorations. Small glaze flakes one on one of the dogs<br>noses and another bottom right close to the plate stand shown in the pics. No<br>other issues.<br>While this may be an unrecorded charger, this exact border actually everything<br>outside of the interior game scene can be found on other Minton Majolica<br>chargers including the one with a bust of Henri IV and Maria de Medici in the<br>interior.<br><br>This would be one of the Earlier pieces of Minton majolica which was created by<br>Joseph Leon Francois Arnoux who was appointed Art Director at Minton in 1848.<br>His primary task was to introduce and promote new products. At the time there<br>was great interest in classical design and bright color. Arnoux decided to<br>reintroduce the work of Bernard Palissy, whose naturalistic, bright colored<br>"maiolica" wares had been popular in the 16th century. However, Arnoux used a<br>thicker body to make pieces more sturdy. This body was given a coating of opaque<br>white glaze which provided a surface for over painting in brightly colored<br>opaque glazes. Later, transparent glazes were used over relief molding. This new<br>Minton majolica was promoted, in London, at the Great Exhibition of 1851.

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Large Meiji Period Japanese Pair Imari Vases. Well painted Antique Japanese Imari vase from the last half of the 19th century. 11.5" tall x 6" wide with no cracks, chips, or restorations. isshelf

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Large Meiji Period Japanese Imari Floor Vase. Well painted Antique Japanese Imari vase from the last half of the 19th century. 15" tall x 8" wide with no cracks, chips, or restorations. isshelf

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Reynaldo Quezada Mata Ortiz pottery jar. 5.5" wide x 3" tall with no cracks, chips, restorations, or detectable wear. Reynaldo Quezada is Juan Quezada's youngest brother. Reynaldo learned the art of making pottery from Juan and his brother Nicolas. Reynaldo's first claim to fame came from his experiments with mixing clays and producing marbleized ollas. His second claim to fame comes from the graphite-polished black bowls, vases and flying-saucers with corrugated surfaces that he produces. tw147

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c1840 Old Paris Porcelain Madonna and Child figure. 11.5" tall with no cracks, chips, or restorations, expected wear to gilding. isshelf

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6 Civil War Era Minnesota Scoville Waterbury Uniform Jacket Buttons. Selling the 6 buttons shown estate fresh. I believe they are civil war era, they may be just after. Guaranteed 19th century. TW68

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Well made with great crisp detail, Modeled after James Earle Frasier's "End Of The Trail", No makers name or marks, Cast iron finished to look like bronze, Each measures approx 6" tall x 5.75" x 2" and weigh approx 3.8 pounds each, Native American Indian Warrior on Horseback with spear. I believe the spears are bronze, the top of the spear on one of the bookends is broken at his arm I believe. TW68

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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 Heavy Navajo Sterling/Turquoise cuff bracelet. 1.5" wide, nice solid 99<br>gram unmarked (tested sterling) cuff. 7" inside diameter including the 1 1/8"<br>gap. No damage or issues.

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Antique Brass/Tin Wall Mount Nautical/Railroad Lantern. Great transportation lantern from the last half of the 19th century. 11.25" tall with handle x 5.25" wide. No identifying marks, incredible functional condition with no holes in burner, turning wick knob, no cracks, well preserved. tw68

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Vintage 1" Elk Creek Sterling and Gold Filled Longhorn Hand engraved belt buckle set. Fits up to a 1" belt. Buckle is 2.25" wide. 52 grams.

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c1880 Japanese Imari Bowl 8.5" x 3 1/8" No cracks, chips, or restorations. Nice decoration with minor wear to gilding and enamel. imshelf

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Vintage Navajo Sterling silver Buffalo Nickel Squash Blossom necklace. 21" long, unmarked (beads tested sterling) 102 grams.

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Huge Navajo Carico Lake Turquoise/Sterling Charles Johnson Pendant 5" tall with<br>bail x 3.25" wide x 110 grams, top quality turquoise, no damage. This is a very<br>large pendant that will go on a multi-strand necklace or large Navajo pearls<br>with ease, anything up to 22 mm or so.<br><br>Charles Johnson<br><br>Charles was taught silversmithing from his parents at about the age of 15, and<br>continued to learn on his own during the summers. His parents are lifetime<br>silversmith’s with his mother’s family having 5 generations, and his father’s<br>family with 2 generations. Charles has worked full-time as a silversmith since<br>the age of 20. He first started inlaying at the age of 13 for a few years while<br>learning both.Starting with traditional Navajo jewelry, Charles then went into<br>Navajo contemporary jewelry, then onto the Western style with swirl design<br>cutouts. The majority of his jewelry are cutout overlay on bracelets, and<br>buckles with Petroglyph designs (Anasazi drawings). He also enjoys bracelet<br>overlay with Western style and swirl design. Charles’ clans are Ashii (Salt<br>People) and Todich’ii’nii (Bitter Water Clan).

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Bea Tom Navajo Spiny Oyster and Sterling Necklace. Wonderful necklace in perfect<br>condition. 20" long 120 grams marked and tested sterling.<br><br>Specializing in traditional Navajo cluster work, Navajo silversmith Betty Tom<br>was born & raised in Thoreau, NM. Betty started silversmithing after high<br>school, learning by watching her father. Mother of three and Grandmother of<br>four, Betty still lives in Thoreau, and continues to provide the Southwest with<br>collectible turquoise and silver jewelry.

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Vintage French Limoges Cow Creamer with butterflies. Cows and butterflies, doesn't get much better. 7" long with no cracks, chips, or restorations. isshelf

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Antique 800 Silver Mounted Cut overlay glass Vase. Fantastic piece from the first quarter of the 20th century. 8" tall with 2 5/8" rim. Beautiful cranberry/Amethyst mix, a unique color. Top quality piece that could easily be Baccarat/St Louis, Val St Lambert, or one of other worlds top glassmakers. 80% silver rim, hallmark looks like LY or LV with something in the center. No damage whatsoever.TW107

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c1900 Cut Glass Sterling Mounted Scent Bottle lot. Selling the collection shown all from the late 19th to early 20th century. The tallest is 9.5" tall, spring hinged lid tested sterling though I couldn't find the mark, monogrammed. Next tallest is 5.25" American sterling and American brilliant period cut glass, a few small nicks in design and on bottom of stopper, next is 4.5" tall with british hallmarked sterling repousse lid, no inner glass stopper, tiniest roughness on two sharp points, no other issues. Tall skinny shaker shaped one is 5" tall with one chip in center of decoration, it has a lever to open or close to release liquid, lid marked sterling. 3.5" tall cylindrical jar with british sterling repousse lid, no damage, 3" tall jar with brass lid and inner stopper, a few tiny flakes on base rim and no other issues. Selling this lot shown, all super clean, all display well, all with no noticeable damage without close scrutiny, all over 100 years old. tw107

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Texas 1937 Pan American Games Olympic Gold Medal. This is an Authentic (tested) 14k gold medal from the Pan-American games that took place in 1937 in Dallas Texas. This was the first year of the games, it received little attention, it's likely the only one in existence as very few people in the world even know these games took place even though athletes that were famous at the time and also competed in the 1936 Olympics in Germany also competed here. It took me a fair amount of time to figure out what this was as I could find no sales results from another. 999/1000 gold buyers would melt this without ever figuring out what it was. Maybe there is another one out there but I could find no evidence of that, regardless it's a very important part of sports and Texas history. I'm assuming TKC is the recipient of the Medal, at the moment I'm not sure who that is. I've had this for quite some time and I know I acquired it in Austin, probably about 4-5 year ago which would have made the recipient 100 when he passed if he competed at 20 assuming I acquired it directly from the recipients estate. 84 years is a long time. I'm putting this out there hoping to gather a little more info on it and the price might seem crazy but I think it or more could be possible at the right auction. 7/8" wide x 1" tall without loop. Below is a little info I gathered online from various sources in a few hours about the 1937 Games and a few of it's participants. Early games The idea of holding a Pan American Games was first raised at the 1932 Summer Olympics in Los Angeles, where Latin American representatives of the International Olympic Committee (IOC) suggested that a competition among all the countries in the Americas should be created.[7] The first event called the Pan American Games took place in Dallas in 1937 as part of the Greater Texas & Pan-American Exposition, but it attracted so little attention it has never counted in the records of the competition.[8][9] At the first Pan American Sports Congress, held in Buenos Aires in 1940, the participants decided that the first games should be held in Buenos Aires in 1942. The plans had to be postponed because of World War II. A second Pan American Sports Congress held in London during the 1948 Summer Olympics reconfirmed Buenos Aires as the choice of host city for the inaugural games, which were held in 1951. The games began on February 25[10] of that year, and offered 18 sports.[7] Countries that were part of the Commonwealth of Nations such as Canada did not compete at the first Pan American Games.[11] The second games were held in Mexico City, Mexico. Competitions started on March 12 and included 2,583 athletes from 22 countries, competing in 17 sports.[12] The Pan American Games have been held subsequently every four years.[12] Continental championships have long been a vital component of the four-year calendar for sports whose pinnacle is the Olympic Games. They began in continents with relatively few organised international competitions between neighbouring countries. The 1937 Pan American Games were followed by the Pacific Games, the African Games and the Asian Games. The Pan American Games The idea of Pan American Games was conceived in 1932 during the Los Angeles Olympic Games, but the first officially sanctioned Pan Am Games did not take place until 1951.1" World politics interfered from the start. 14 As a prelude to the Games originally planned for 1942, a festival called the 1937 Pan American Games was held in Dallas, Texas. At least 21 nations of South, Central and North America were invited, but only about a half dozen actually attended. In soccer, 1937 Pan-American Games (unofficial): The United States (represented by the Trenton Highlanders) lost to Winnipeg (representing Canada) 3-2 to finish in 3rd place of 3 teams. Dyreson, Mark. (2016). The Original Pan-American Games? The 1937 Dallas Pan-American Olympics. The International Journal of the History of Sport. 33. 1-23. 10.1080/09523367.2016.1152959. In 1937, Dallas, Texas, hosted a sporting festival that drew teams from across the Americas to a ‘Pan American Olympics’. Organized under the umbrella of the Greater Texas and Pan-American Exposition, the games drew hundreds of athletes for track and field contests, soccer football matches, and a boxing tournament. Though historians generally consider the 1951 Buenos Aires Pan-American Games as the genesis of the Western Hemisphere’s biggest sporting carnival, the Dallas games certainly inspired even if they did not directly inaugurate the Pan-American Games movement. Directed by George Preston Marshall, the owner of a professional gridiron football franchise and an ardent leader of segregation in that sport, the Pan-American Olympics paradoxically produced an interracial set of contests that matched black, white, and Latino athletes against one another in the heart of the segregated US South. The Dallas Pan-American festival reveals the enigmatic visions of their architect, illumines the racial and national cleavages of the 1930s, and highlights the persistent dream of an Olympic-style event that would include all of the Americas. Earle Meadows Inducted: 1996, athlete Born: June 29, 1913 - Corinth, Mississippi no longer with us: November 11, 1992 Events Pole Vault - 4.54 m A world record holder in the days of the bamboo pole, Earle Meadows achieved his greatest fame by winning the pole vault at the 1936 Olympic Games, but 1937 was perhaps his greatest year from a record standpoint. On May 8 at Stanford, Calif., Meadows and University of Southern California teammate Bill Sefton broke the world record when they cleared 4.48m/14 feet 8.50 inches, appropriately tying for first place. Three weeks later, they both bettered that mark with clearances of 4.55m/14-11. Since the standards couldn't be raised any higher, Meadows and his teammate lost their chance to become the first vaulters to clear 15 feet. Their performances while leading USC to three NCAA team titles earned Meadows and Sefton the nickname "Heavenly Twins." In 1935 and 1936, Meadows also shared the NCAA title with Sefton, and he tied Sefton for the 1935 AAU title. Meadows was equally as successful indoors, winning national titles in 1937, 1940 and 1941. In the latter meet, he set a world indoor best of 4.45m/14-7. Records Held World Record (indoor): Pole Vault - 4.45 m World Record: Pole Vault - 4.48 m (May 8, 1937 - ) World Record: Pole Vault - 4.54 m (May 29, 1937 - ) Championships 1936 Olympic Games: Pole Vault - 4.35 m (1st) 1935 USA Outdoor Championships: - 4.23 m (1st) 1936 Olympic Trials: Pole Vault - 4.34 m (1st) 1937 USA Indoor Championships: - 4.34 m (1st) 1940 USA Indoor Championships: - 4.34 m (1st) 1941 USA Indoor Championships: - 4.38 m (1st) 1937 Pan American Games: - 4.12 m (3rd) 1936 Olympic Games, Berlin, Germany John Loaring Jr’s second competitive experience in the 400m hurdles was on his 21st birthday, August 3rd, in the heats at the 1936 Berlin Olympic Games. The following day, Loaring ran in both the semi-final and final of the 400m hurdles. He was the youngest and most inexperienced finalist, but managed to win the silver medal, finishing only 3/10ths of a second behind the favourite and world record holder, Glenn Hardin. On August 6th and 7th, Loaring ran four 400m races: first round, second round, semi-final, and the final, in which he placed sixth. On August 8th, Loaring anchored the 4x400m Canadian relay team. In the semi-final heat, Loaring received the baton ahead of Germany’s Rudolf Harbig, who later, in 1939, broke World Records in the 400m and 800m runs. Loaring purposely slowed near the end, letting Harbig win in front of his countrymen, and knowing that a Canadian second would qualify for the final. However, in the final, Canada’s third relay runner was fouled by an American runner, and Loaring received the baton seven meters behind Harbig. Loaring nearly caught Harbig, with Germany and Canada receiving the same time, but Loaring behind by less than a metre — Canada placing fourth. International press reported that officials huddled about the obvious foul, but ultimately decided not to disqualify the USA team, because the Canadian team hadn’t protested. Such was the gentlemanly “roll-with-the-punches” sportsmanship and politics of that earlier time. The popular German weekly, Fussball, selected Loaring as: “The toughest competitor of 1936…” The noted Olympic authors, Ross and Norris McWhirter, commented: “Loaring’s competitive record at the 1936 Olympics…must just about represent the most severe test to which any Olympic athlete has ever been subjected.” Loaring is still the only athlete to compete in all three Olympic male finals involving the 400m distance in any combination of Olympic Games, and he did so as he turned age 21. Like other young athletes, the onset of World War II deprived him of two Olympic Games during his prime years – one can only surmise what performances he could have delivered as an experienced athlete. Post-Olympic Performances Immediately after the Olympic events, Loaring competed in a British Empire vs USA meet in London, England, on August 15th, 1936. In a four-by-two-lap steeplechase relay, Loaring ran the anchor leg in a World Best Time, winning gold for the British Empire Team. He overcame a 12yd lead of USA’s anchorman, who had held the 3,000m steeplechase World Record until one week prior. This was Loaring’s one and only steeplechase experience. In the 1937 Pan-American Games in Dallas, Texas, Loaring’s favourite 400m hurdles event wasn’t on the program. However, he won a fourth-place medal in the 400m run. Three days later, Loaring competed in an Oxford-Cambridge versus Canada Dual Meet in Hamilton, Ontario. After winning the 220yd hurdles, Loaring upset Britain’s Olympic silver and gold medalist while winning the 440yd run. John Woodruff African American runner at the 1937 Pan American Games, he faced Elroy Robinson, a white runner who had just set a world record in the 800 meters. Mr. Woodruff won the race by 12 yards with a time of 1:47.8, almost two seconds faster than Robinson’s week-old record. But officials disallowed Mr. Woodruff’s time, ruling the track was improperly measured and was several feet short.

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c1910 Chinese Republic period famille rose vase. Great 13.5" tall hand painted Chinese vase from the first quarter of the 20th century with no cracks, chips, or restorations. isshelf

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Meiji Period Japanese Imari Urn with 1940's mountings. Nice urn from the last half of the 19th century, hand painted Japanese Imari. It has been drilled at the top and bottom center, clean holes with no cracks. Looks great and would make a great storage jar though the bottom hole may need to be plugged depending what you're storing, or a lamp, or just leave it like this in all it's glory. No damage other than two drilled holes. 14.5" from base of mounting to top of finial, the porcelain jar with no mountings is about 9" tall. isshelf

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Large c1960 Fukagawa Seiji Arita Vase. High quality mid century Japanese vase. Very large 9.75" tall x 7.5" wide, larger than it sounds. No cracks, chips, restorations, gold wear, or scratches. isshelf

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c1900 Kralik Martele Verre-de-Soie Art Nouveau Bohemian art glass vase. Fantastic piece of Bohemian Art Nouveau period and style art glass from the first quarter of the 20th century with no cracks, chips, or restorations. 5.5" tall nice iridescence that didn't show well in the pics. tw193

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c1880 French Sevres Style Hand Painted Porcelain cup and saucer. Great cup and saucer from about the mid 19th century with no cracks, chips, or restorations. Minor wear to gilding shown. Very deep saucer 5 7/8" x 1.5" tall Cup 3" tall x 2.75" wide without handle.

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c1890 Quarter Sawn Oak Piano Form Desk Caddy with double inkwell. Unusual piece<br>from the last quarter of the 19th century. Nice sized desk caddy with multiple<br>drawers and compartments shaped like a piano. The top grill comes out but also<br>has a slot to keep it in, the possibilities are endless, imagine all the stuff<br>you could keep in this. 11" wide x 10.5" tall with no damage or issues, even has<br>the porcelain inserts for the inkwells. Also has a brass presentation plaque on<br>the top that was never engraved.<br>isshelf

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2 c1890 Glass Beer Steins Paulaner braeu. Selling both glass beer steins from the late 19th century to early 20th. 8.5" tall with no cracks, chips, or restorations. Nice fancy lids on these. Nice tight hinges without play. TW254

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Steuben Owl Hand Cooler and Baccarat Paperweight. Selling both with no cracks, chips, scratches, or dings. The owl is signed stueben on base, the dragon is signed baccarat twice and has original label. Owl is 2.5" tall, dragon is 4" tall. TW254

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Boehm Porcelain Lamb and Sow Piglet. No cracks, chips, or restorations. Longest 5.5" Biography of Edward Boehm: In 1950, Edward and Helen Boehm started a basement studio in Trenton, New Jersey, and Ed created sculptures in realistic style that were admired enough that in 1951, two of them entered the collection of the Metropolitan Museum of Art. By the end of the decade, Boehm was represented in 11 other museums including the Buckingham Palace, Elysee Palace and the Vatican. Today the porcelains are in 134 museums and institutions throughout the world isshelf

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Baccarat Harcourt Decanter 5.5" wide x 12.5" tall. No cracks, chips, scratches, dings, or hard water. Estate fresh in new condition, retailed for $1490. tw254

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Lalique Doves Lovebirds "Dampierre" Sparrows Vase 5" France 4.75" tall x 4 7/8" wide large, Heavy Vase.. Top quality authentic Lalique glass guaranteed with no cracks, chips, rubs, dings, or other issues. If you buy one vase you will get the exact one shown, if you change your quantity you will get how many ever you select all in the same condition with no damage or detectable wear as at the time of listing I have 3 of these. tw254

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sz 6 Vintage Native American Sterling and turquoise cluster ring. Unmarked 6.1 grams, really great ring with no issues. All precious metals are tested and guaranteed,

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1920's Abilene Building and Loan Association Texas Bank by Bankers Thrift corporation Chicago. 3" x 2.25" good condition with no key. Two coins rattling around inside I can't tell what they are. B14

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All Cuff bracelets on the Estate Fresh Austin website will have the size wrist they fit (in inches) including the gap at the beginning of the title, there are also many photos in this listing which will show a tape measure inside the bracelet, gap size, width, etc. Vintage Navajo Sterling and nugget turquoise bracelet, fits up to a 6 5/8"<br>wrist, 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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c1860 Chinese Canton Blue and White Covered Vegetable Dish with Lid. Guaranteed antique piece over 150 years old, chinese. One small chip on bottom of lid and a few glaze flakes on the outside rim of the base. No other cracks, chips, or restorations. Hand decorated, part of a large estate collection. 10.75" x 8.5" x 3.75" tall with lid. B14

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Qing c1880 Chinese Famille Rose Man and Woman serving tea Figures. Very nice<br>quality pair from the late 19th century with no cracks, chips, or restorations.<br>Tallest is 8.5".<br>B18

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c1900 American La Pierre Hand engraved sterling sash/belt buckle/hair piece. No<br>issues, hinge in center, late 19th to very early 20th century. 3.75" wide x 3"<br>tall, assume it's for a cloth belt. It is naturally curved to conform with a<br>body. Inside measurement where belt goes is 2", 40 grams.<br><br>"The La Pierre company started as early as 1888 in New York where Frank H. La<br>Pierre had a small shop at 18 East 14th St. making a variety of novelties and<br>small wares. In 1895 it was incorporated in New Jersey... In 1900 the firm was<br>again incorporated by La Pierre and H. C. Brown. In 1929 the La Pierre business<br>was purchased by the International Silver Company and moved to Wallingford,<br>Connecticut... "

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15.5" Vintage Chinese Cloisonné Birds and Butterfly Vase. Nice, high quality piece. Estate fresh from the third quarter of the 20th century with no damage, minor oxidation to exposed brass. No identifying marks. Large piece 15.5" tall x 7.25" wide. isshelf

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3 c1900 Nippon Cobalt Blue Hand Painted Roses Plates. 8 5/8" wide plates all near mint with no detectable wear, the unmarked plate shown not in the plate holder on the first pic has the worlds smallest nick on the back shown at the top left of the sixth pic. No other chips, cracks, or restorations. Selling all three. TW57

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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 13 Ring.

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Kamiwaza Japanese Pure Silver Horse Head Plaque. Marked and tested to be Pure<br>silver 99% or greater. Incredible piece of art. 1187 Grams, 10.75" x 8.25", It's entirely silver, front back, not weighted in any way.   It's 999 silver, I'm using sterling as a keyword for obvious reasons. 

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Tin Toy Bucket Collection Sultana Peanut Butter, Ohio Art, Three little pigs,<br>Marx Milk. Selling the collection from the first half of the 20th century some<br>with rust but overall a nice display. Largest 5.5" tall with bail, smallest 4"<br>tall with bail.<br>TW253

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Vintage Neiman Marcus Token One Gift Dollar (8). Selling all eight of these in extremely clean barely circulated condition. They've likely been in this bag their whole lives. I'm not exactly sure when these were made but it's got to be sometime around the 1950's or so. Whenever it was, $1 would have counted towards something at Neiman Marcus and likely not been laughed at, lol. These are uncommon, I've seen them bring over $50 each. I'm including the bag which they came in, not sure if it has any relation to the coins which measure 1.25" wide. All with different serial numbers. TW188

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Vintage Ricardo solid 10k gold on Sterling hand engraved horse belt buckle 3<br>1/8" x 1 3/8", fits up to a 1 1/6" belt 32.3 grams.

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Antique Chinese Carved Wood stand with marble insert. High quality piece from the first quarter of the 20th century. 13.25" tall x 12.25" top surface x 15" total width with legs. A nice stand to put a prized plant on, a Buddha, floor vase, something of that sort. I've had this awhile personally and while I love it I just need space as we're having a baby. We are both fairly light and may have used it as a stool once but I wouldn't recommend it. I would limit the weight put on it to 50 pounds or less and preferably put something on it that is somewhat permanent in this world of impermanence. If you weight 200-300 pounds and need a stool, this might not be the best choice. Overall very attractive with a few worn areas, scratches, scuffs, etc. Please look at the pics as it's visible from all sides, this is a fairly heavy stand. It's that that cheap junk that was coming out of Indonesia in the 90's, it's Chinese and about 100 years old.There was a dab of dried mud or on top rim when I took these pics, it came right off.

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Rare 1950's Mantequilla Del-KA Cermeria Nacional Venezuela Champ Austrian<br>lighter from South American Dairy. So significant wear, amazing condition, super<br>rare lighter if not the only one in existence.<br>TW253

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Antique Chinese Famille Rose Rice Bowl/Tea Cup set. Selling the 4 bowls/cups<br>shown. I'm sure they've been used for both in the past 100 years. They are late<br>19th to early 20th century. One has a tight hairline about 1" long shown top<br>left of first pic. some where to gilding. Three match, one is different, all<br>have some wear to gilding. Just over 4" wide x 1.75" tall.<br>TW253

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c1940's Planters Mr Peanut Charm bracelet. Super cool from 1940's with no damage. Peanuts are marked planters. 8" long.

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Vintage Navajo Sterling turquoise ring. Very attractive stones in this ring, not<br>totally sure of mine. Fancy stampwork bezels, great vintage ring. 12.8 grams<br>Size 6.5<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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Heinrich Gold Encrusted Service Plate set 10 7/8" (5) Selling the set of 5 shown<br>all like new with no utensil marks, wear to gold, chips, cracks, etc. They look<br>new but are from the first half of the 20th century, top quality large plates. I<br>have shown each plate at a different angle as they were difficult to photograph,<br>it was difficult to make the gold pop and still show the beauty of the Hand<br>painted center motif's. The centers are hand painted, three have a similar but<br>slightly different center as they are hand painted, the other two are different<br>completely.<br>isshelf

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c1870 Old Paris Porcelain Apothecary Jars Pair. Great pair of mid to late 19th century French porcelain apothecary jars. lids and bases have some writing and numbers underneath but nothing legible to me. These have no chips, cracks, or restorations, and only minor wear to gilding, likes like the finials had some touch up to the gold gilding with paint long ago but they are not restored, meaning the porcelain was not damaged, guaranteed. 11" tall x 5 3/8" wide. Selling both. tw188

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c1860 Old Paris Apothecary Jars with fly or Bee motif, well decorated. A really nice pair of jars from the 3rd quarter of the 19th century. One with very small chip inside rim shown in bottom of pic right jar when they are laying down. No other chips, no cracks, no restorations. 5.25" wide lid x 10.5" tall. Wear to gilding as show. Selling both jars with uncommon decoration. isshelf

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Vintage Bohemian Cranberry Tumble Up Dresser Water Carafe. 8" total height with<br>no cracks, chips, or restorations. Minor wear to gilding.<br>tw89

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c1880 Sevres Style Hand Painted Bronze Mounted Garniture. No damage or restorations, no top as shown.

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c1870's Stevengraph Pure Silk Woven Picture of Royal Mail coach to/from the Black swan. Good condition for 140-150 years old with minor stains and obvious reframing in a quality 20th century frame. The Fascinating World of Stevengraphs. By Bill Poese. THE FASCINATING silk pictures that we know today as Stevengraphs actually had their origin in a depression in England's far flung textile industry, and Richard Cobden, a 19th century English economist and statesman, may claim some of the credit. In 1860, the so-called Cobden Treaty, a free-trade treaty negotiated by Cobden and removing England's protective tariff on silks, brocades and ribbons, among other things, took effect. Its impact upon Coventry, where English ribbon weaving had been concentrated for 150 years, was devastating. Forty five per cent of Coventry's population earned their livelihood from ribbon weaving. Looms were destroyed, and during a two-year period 9,000 persons emigrated to foreign countries in search of employment. But there was one man who was resourceful enough to overcome the blow sufficiently to provide for his own family, the weavers in his employ, and, in a small way, to bolster the economy of Coventry. This man was Thomas Stevens, born in 1828 in the outlying district of Foleshill. As a boy, Thomas Stevens had learned the ribbon weaver's trade at the firm of Pears and Franklin in Upper Well Street, Coventry, and in 1854 he set up his own business in Queen Street. He had learned all the aspects of his trade well and the jacquard loom was of particular interest to him. This loom was a French invention of about 1790 of Joseph Jacquard that had been introduced into England in 1820, and its excellence was recognized quickly, so that by 1838 as many as 2,200 jacquard looms were thumping in Coventry. The principle of the jacquard loom is based upon the fact that mechanically-operated devices controlled loops and pulleys to weave patterns in textiles. Thomas Stevens improved, adapted, and refined the loom by a series of inventions so that he could produce silk pieces that have exquisite detail with what seems to be a three-dimensional effect. He produced pictures, musical notes, lettering and portraits of amazing beauty. The first step in producing Stevengraph works was an artist's drawing on squared paper. These designs were originals, copies of portraits, copies of prints, and often of texts in the manner of illuminated manuscripts. The Victorian love of covering the entire surface of the piece is often in evidence in these pieces. The squared paper pictures look like designs for cross-stitch embroidery work. Large cards were made that carried out the artist's picture and a separate card was made and per- forated for each color in every single woven line of the picture. The cards were put into an endless chain arrangement and placed in the Jacquard loom to regulate the operation of the warp threads. Every time the shuttle carrying the weft was placed across the loom, a different card calling for a variation in the warp threads and consequently in the pattern was brought into use. Many pieces used ten to 12 colors. After the entire pattern was completed, a space was provided and the pattern began to repeat itself. In this way, the weaver produced spools of beautifully woven picture ribbons that were later cut apart at the separating areas. Because of the work involved in placing the cards in the loom, many picture ribbons were woven before a change was made and a different set of cards was used. One 13-inch-long bookmarker that Stevens produced required 5,500 perforated cards. Thomas Stevens was not the only Coventry weaver who was able to survive the depression by weaving pictorial ribbons nor was he the first to produce pictures on the Jacquard loom. As early as 1801 in Lyons, black-and-white portraits had amazed people. In 1855, James Hart wove silk pictures depicting Queen Victoria and Napoleon 111, and in 1858 John Caldicott wove a ribbon with a portrait of Edward Ellice, who was the Member of Parliament from Coventry. But the best known of the jacquard picture weavers was Thomas Stevens. It is he who stands out above the others and it is he who invented the term "Stevengraph." By 1862, Stevens had produced nine bookmarkers of different designs. During 1862 he registered four new patterns: "Unchanging Love," "I wish you a Merry Christmas," "Thanksgiving," and "Thy Bridal Day." During this same year he pro- duced a few larger pieces that were desirable for framing, but he evidently changed his mind about the pictures because he produced no more of them during the next 16 years, confining himself, instead, to producing his popular bookmarkers. Just who made the first Stevengraph-type bookmarker is a matter of considerable dispute and the contenders for the honor are John Caldicott, John Ratliff, and perhaps Thomas Stevens. Among Stevens's contemporaries who did the same sort of jacquard picture weaving were, in addition to those just named, the brothers John and Joseph Cash, and Dalton and Barton. In 1863, the royal marriage of the Prince and Princess of Wales, and in 1864, the tercentenary of Shakespeare's birth gave the weavers ample subject matter to satisfy the demands of a souvenir-hungry nation. Strangely enough, at this time Stevens's competition dropped out of the race and left him a clear field for a period of time to produce his bookmarkers and allied items. By the late 1880s he had produced more than 900 items and among them are sachets, birthday verses, Christmas and New Year greetings, calendars, fans, valentines, ladies' neckties and sashes, emblematic sashes for fraternal orders, pictures suitable for framing, and of course, the always popular bookmarkers, many with tassel-tipped ends. They vary in size from 1 1/4 by 4 inches to 7 1/2 by 13 inches for the mounted pictures and his various items sold for as low as 5 cents, to as much as $14 for a sash. Stevengraphs were given as premiums to people who subscribed to The Ladies Floral Cabinet in 1877. Competition developed in the 1870s by Bolland and Welch and Lenton, who copied his bookmarkers, and in the 1880s by W. H. Grant, who imitated his mounted pictures. Stevens became the father or seven children. In 1878 he moved to London to supervise his expanding business. By this time he had sales agencies in New York City, Cincinnati, Leipzig, Glasgow, Dublin, and Londonderry, in addition to London. To stimulate sales at the expositions that were popular during the period of his greatest activity he sent weavers with his version of the jacquard loom to many of them. There, people could watch a piece being woven, buy it and take it home as a souvenir of the fair. Among the places he or his sons did this were the Philadelphia Centennial Exposition, 1876; York Exposition, 1879; Edinburgh, 1886; Manchester, 1887; Cincinnati 1888; London, 1890; Chicago, 1893; St. Louis, 1904; and Paris, Antwerp, Liverpool, Bristol, Boston, Brussels, and Paris. After winning more than 30 medals and diplomas, Thomas Stevens died on October 24, 1888, in London and was buried in the family plot in Coventry. Two of his sons, Thomas and Inger, who, before his death managed the Coventry plant, con- tinued the business. Thomas Stevens had established pleasant working conditions in an industry that was noted for poor conditions. His plant had adequate lighting, ventilation, a pleasant dining area, and it was sanitary. The heavy German ings of Coventry in 1940 leveled his buildings and his business, but he lives on in the appreciation of hundreds of antique collectors who specialize in Stevengraphs, including 175 active members of the Stevengraph Collectors' Association with its headquarters at Irvington-on-Hudson, N.Y., and members in England, Canada, Scotland, Austrialia, South Africa, and New Zealand as well as the United States. The highest price paid at auction for a Stevengraph was $1,560 in April, 1972, in London. The article was a mint example of L' Immaculee Conception and is extremely rare. Many examples of Stevens's work, however, are offered for modest prices that are within the price range of many collectors. Individuals are concerned with authenticating items in their collections as being made by Stevens and also with dating them. Both of these matters present difficulties. A pattern could be set up on the cards in 1865, and many times years later the same cards could be used again to produce identical items. There was no limited edition with the mold or etching plate being destroyed. Certain items can be dated by the events they portray and the dates they bear as the one for the Philadelphia Centennial Exposition of 1876. Some can be dated by the number of awards that are noted on the paper backing on some pieces. Many, of course, are signed in the weaving. A diamond-shaped registry mark like that on pottery dates many since this device was used from 1842 to 1883. Thomas Stevens was a businessman who produced a salable luxury or souvenir product. If the subject matter was attractive and the sentiment appealed, people would buy them for themselves or as a little gift for a friend. As a result, he and his successors' designs reflect Victorian tastes that were, in many cases, universal tastes at the time. Among the portraits are those of Queen Victoria, Shakespeare, King Edward VII, John L. Sullivan, Robert Burns, "Buffalo Bill" Cody, Prince Otto von Bismark, and President and Mrs. Cleveland. Under the general heading of views we find many English castles such as Balmoral, Kenilworth, Warwick, and Windsor. Other views include the Crystal Palace, Houses of Parliament, Tower of London and the Tower Bridge, and the Centennial Exposition of Ohio Valley and Central States, Cincinnati, 1888. Historical pictures include Columbus Leaving Spain, Landing of Columbus, Declaration of Independence, and the Death of Nelson. Classical and legendary subject matter can be found in those weavings that depict Peeping Tom, Leda, The Lady Godiva Procession, and Bath of Psyche. Certain items display the sentimentality of Victorians as God Speed the Plough, Good Old Days, Called to the Rescue, Grace Darling, and For Life or Death. Many battleships and trains are pictured and so are many sporting events. Among the latter are depictions of Spanish bull, horse racing, fox , cricket, bicycle racing, tennis, and baseball. Thomas Stevens was a highly skilled master of a delicate craft that resulted in articles that will be held in high esteem as long as their silken fibers hold together. Tw61

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c1920's WWI Imperial German Navy Lion's Head Sword candle holders. Pair of<br>Imperial German Navy Lion's Head Sword candle holders from WWI. Two standard<br>Imperial German naval sword hilts converted to candle holders by attaching them<br>to cast brass bases and candle holders. The sword hilts were converted from left<br>over stocks of unissued swords. Jewels in all 4 eyes 10 7/8" tall with 5 1/8"<br>base.<br>TW253

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c1870's Stevengraph Pure Silk Woven Picture of Steam Fire Engine and Firemen "For Life or Death". 9.75" x 7" total including frame. Overall good condition for 140-150 years old with minor stains and some wear to frame as shown. The Fascinating World of Stevengraphs. By Bill Poese. THE FASCINATING silk pictures that we know today as Stevengraphs actually had their origin in a depression in England's far flung textile industry, and Richard Cobden, a 19th century English economist and statesman, may claim some of the credit. In 1860, the so-called Cobden Treaty, a free-trade treaty negotiated by Cobden and removing England's protective tariff on silks, brocades and ribbons, among other things, took effect. Its impact upon Coventry, where English ribbon weaving had been concentrated for 150 years, was devastating. Forty five per cent of Coventry's population earned their livelihood from ribbon weaving. Looms were destroyed, and during a two-year period 9,000 persons emigrated to foreign countries in search of employment. But there was one man who was resourceful enough to overcome the blow sufficiently to provide for his own family, the weavers in his employ, and, in a small way, to bolster the economy of Coventry. This man was Thomas Stevens, born in 1828 in the outlying district of Foleshill. As a boy, Thomas Stevens had learned the ribbon weaver's trade at the firm of Pears and Franklin in Upper Well Street, Coventry, and in 1854 he set up his own business in Queen Street. He had learned all the aspects of his trade well and the jacquard loom was of particular interest to him. This loom was a French invention of about 1790 of Joseph Jacquard that had been introduced into England in 1820, and its excellence was recognized quickly, so that by 1838 as many as 2,200 jacquard looms were thumping in Coventry. The principle of the jacquard loom is based upon the fact that mechanically-operated devices controlled loops and pulleys to weave patterns in textiles. Thomas Stevens improved, adapted, and refined the loom by a series of inventions so that he could produce silk pieces that have exquisite detail with what seems to be a three-dimensional effect. He produced pictures, musical notes, lettering and portraits of amazing beauty. The first step in producing Stevengraph works was an artist's drawing on squared paper. These designs were originals, copies of portraits, copies of prints, and often of texts in the manner of illuminated manuscripts. The Victorian love of covering the entire surface of the piece is often in evidence in these pieces. The squared paper pictures look like designs for cross-stitch embroidery work. Large cards were made that carried out the artist's picture and a separate card was made and per- forated for each color in every single woven line of the picture. The cards were put into an endless chain arrangement and placed in the Jacquard loom to regulate the operation of the warp threads. Every time the shuttle carrying the weft was placed across the loom, a different card calling for a variation in the warp threads and consequently in the pattern was brought into use. Many pieces used ten to 12 colors. After the entire pattern was completed, a space was provided and the pattern began to repeat itself. In this way, the weaver produced spools of beautifully woven picture ribbons that were later cut apart at the separating areas. Because of the work involved in placing the cards in the loom, many picture ribbons were woven before a change was made and a different set of cards was used. One 13-inch-long bookmarker that Stevens produced required 5,500 perforated cards. Thomas Stevens was not the only Coventry weaver who was able to survive the depression by weaving pictorial ribbons nor was he the first to produce pictures on the Jacquard loom. As early as 1801 in Lyons, black-and-white portraits had amazed people. In 1855, James Hart wove silk pictures depicting Queen Victoria and Napoleon 111, and in 1858 John Caldicott wove a ribbon with a portrait of Edward Ellice, who was the Member of Parliament from Coventry. But the best known of the jacquard picture weavers was Thomas Stevens. It is he who stands out above the others and it is he who invented the term "Stevengraph." By 1862, Stevens had produced nine bookmarkers of different designs. During 1862 he registered four new patterns: "Unchanging Love," "I wish you a Merry Christmas," "Thanksgiving," and "Thy Bridal Day." During this same year he pro- duced a few larger pieces that were desirable for framing, but he evidently changed his mind about the pictures because he produced no more of them during the next 16 years, confining himself, instead, to producing his popular bookmarkers. Just who made the first Stevengraph-type bookmarker is a matter of considerable dispute and the contenders for the honor are John Caldicott, John Ratliff, and perhaps Thomas Stevens. Among Stevens's contemporaries who did the same sort of jacquard picture weaving were, in addition to those just named, the brothers John and Joseph Cash, and Dalton and Barton. In 1863, the royal marriage of the Prince and Princess of Wales, and in 1864, the tercentenary of Shakespeare's birth gave the weavers ample subject matter to satisfy the demands of a souvenir-hungry nation. Strangely enough, at this time Stevens's competition dropped out of the race and left him a clear field for a period of time to produce his bookmarkers and allied items. By the late 1880s he had produced more than 900 items and among them are sachets, birthday verses, Christmas and New Year greetings, calendars, fans, valentines, ladies' neckties and sashes, emblematic sashes for fraternal orders, pictures suitable for framing, and of course, the always popular bookmarkers, many with tassel-tipped ends. They vary in size from 1 1/4 by 4 inches to 7 1/2 by 13 inches for the mounted pictures and his various items sold for as low as 5 cents, to as much as $14 for a sash. Stevengraphs were given as premiums to people who subscribed to The Ladies Floral Cabinet in 1877. Competition developed in the 1870s by Bolland and Welch and Lenton, who copied his bookmarkers, and in the 1880s by W. H. Grant, who imitated his mounted pictures. Stevens became the father or seven children. In 1878 he moved to London to supervise his expanding business. By this time he had sales agencies in New York City, Cincinnati, Leipzig, Glasgow, Dublin, and Londonderry, in addition to London. To stimulate sales at the expositions that were popular during the period of his greatest activity he sent weavers with his version of the jacquard loom to many of them. There, people could watch a piece being woven, buy it and take it home as a souvenir of the fair. Among the places he or his sons did this were the Philadelphia Centennial Exposition, 1876; York Exposition, 1879; Edinburgh, 1886; Manchester, 1887; Cincinnati 1888; London, 1890; Chicago, 1893; St. Louis, 1904; and Paris, Antwerp, Liverpool, Bristol, Boston, Brussels, and Paris. After winning more than 30 medals and diplomas, Thomas Stevens died on October 24, 1888, in London and was buried in the family plot in Coventry. Two of his sons, Thomas and Inger, who, before his death managed the Coventry plant, con- tinued the business. Thomas Stevens had established pleasant working conditions in an industry that was noted for poor conditions. His plant had adequate lighting, ventilation, a pleasant dining area, and it was sanitary. The heavy German ings of Coventry in 1940 leveled his buildings and his business, but he lives on in the appreciation of hundreds of antique collectors who specialize in Stevengraphs, including 175 active members of the Stevengraph Collectors' Association with its headquarters at Irvington-on-Hudson, N.Y., and members in England, Canada, Scotland, Austrialia, South Africa, and New Zealand as well as the United States. The highest price paid at auction for a Stevengraph was $1,560 in April, 1972, in London. The article was a mint example of L' Immaculee Conception and is extremely rare. Many examples of Stevens's work, however, are offered for modest prices that are within the price range of many collectors. Individuals are concerned with authenticating items in their collections as being made by Stevens and also with dating them. Both of these matters present difficulties. A pattern could be set up on the cards in 1865, and many times years later the same cards could be used again to produce identical items. There was no limited edition with the mold or etching plate being destroyed. Certain items can be dated by the events they portray and the dates they bear as the one for the Philadelphia Centennial Exposition of 1876. Some can be dated by the number of awards that are noted on the paper backing on some pieces. Many, of course, are signed in the weaving. A diamond-shaped registry mark like that on pottery dates many since this device was used from 1842 to 1883. Thomas Stevens was a businessman who produced a salable luxury or souvenir product. If the subject matter was attractive and the sentiment appealed, people would buy them for themselves or as a little gift for a friend. As a result, he and his successors' designs reflect Victorian tastes that were, in many cases, universal tastes at the time. Among the portraits are those of Queen Victoria, Shakespeare, King Edward VII, John L. Sullivan, Robert Burns, "Buffalo Bill" Cody, Prince Otto von Bismark, and President and Mrs. Cleveland. Under the general heading of views we find many English castles such as Balmoral, Kenilworth, Warwick, and Windsor. Other views include the Crystal Palace, Houses of Parliament, Tower of London and the Tower Bridge, and the Centennial Exposition of Ohio Valley and Central States, Cincinnati, 1888. Historical pictures include Columbus Leaving Spain, Landing of Columbus, Declaration of Independence, and the Death of Nelson. Classical and legendary subject matter can be found in those weavings that depict Peeping Tom, Leda, The Lady Godiva Procession, and Bath of Psyche. Certain items display the sentimentality of Victorians as God Speed the Plough, Good Old Days, Called to the Rescue, Grace Darling, and For Life or Death. Many battleships and trains are pictured and so are many sporting events. Among the latter are depictions of Spanish bull, horse racing, fox , cricket, bicycle racing, tennis, and baseball. Thomas Stevens was a highly skilled master of a delicate craft that resulted in articles that will be held in high esteem as long as their silken fibers hold together. Tw61

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Antique Chinese Blue underglaze Qing dish. 18th-19th century with no chips, cracks, or restorations. 6.75" Great early piece of Chinese porcelain from an old collection of predominantly Ming porcelain. isshelf

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Meiji Period Japanese Arita Hand Painted Porcelain vase. Very high quality<br>painting 10" tall vase from the late 19th century. No cracks, chips, or<br>restorations, wear to most of the gold band on the rim.<br>TW256

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Antique Chinese Blue underglaze Qing dish. 18th-19th century with one very small chip on rim and crowsfoot on base that doesn't extend to footrim, no other chips, cracks, or restorations. 6" Great early piece of chinese porcelain from an old collection of predominantly Ming porcelain. isshelf

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Chinese Wanli Ming Crane dish described in detail on 1984 appraisal which will be included and a pic of is included in the attached pictures. Jo Ann Adams was a very well respected, thorough, and knowledgeable appraiser that specialized in Asian antiques. And as you most likely know if you're reading this Chinese porcelain is one of the few areas of Antiques/Collectibles that have proven to be an excellent investment in the last 38 years since these appraisals were done.Very small chip on reverse rim, no other cracks, chips, or restorations.

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c1890 Northwood Cranberry Opalescent Poinsettia Brides Basket/Bowl. Selling the<br>bowl and holder, the bowl has really exceptional color/opalescence. It fits the<br>Holder perfectly, estate fresh the came together. Bowl is 11" at widest point,<br>holder is 11" tall. Holder marked Great Northern Anchor Brand Quadruple plate.<br>tw256

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Early Chinese Celadon Vase with antique restoration. One handle restored a very<br>long time ago, no other cracks, chips, or restorations. 7.75" tall.

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Antique KPM Sauce Boat Hand painted Pink trim and flowers. 10.5" long x 3.5"<br>tall. Chip of footrim which doesn't not affect it's functionality or beauty. No<br>other issues whatsoever.<br>TW188

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c1940's Navajo Hand Stamped silver turquoise thunderbird ring Size 6, nice<br>stampwork, not one of those Fred Harvey style rings, this is a nice old Navajo<br>hand stamped ring. 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. 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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c1850 Staffordshire c1940's Royal Doulton British Ceramic Dalmation figures. On<br>the left staffordshire 5.25" tall guaranteed from the last half of 19th century<br>with two old/stable fractures on front ankles, no other damage. On right Royal<br>Doulton dalmation, early version from late 30's or 40's. 7" long x 4.25" tall<br>with no cracks, chips, restorations, or crazing. Selling both together.<br>TW210

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c1730's 18th Century Brass Candlesticks. Exceptional pair of extremely heavy<br>brass candlesticks from the first half of the 18th century. 9 1/8" tall x 5 1/8"<br>wide at base, Very solid with very old stable repairs to base on both<br>candlesticks not easily detectable from above.<br>isshelf

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Vintage Chinese Cloisonné Reverse Painted Bottle Collection. Selling the estate lot from the third quarter of the 20th century. All Chinese, none with any damage. The cloisonné plate is 10", largest trinket box is 4" wide, and bottle is 4" tall and hand painted. No chips or damage anywhere on any pieces. All vintage pieces from about the 1960's. The bottle is larger than a typical snuff bottle and doesn't have a dauber or scoop so I would consider it a perfume bottle. tw 146

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Vintage Native American Sterling High grade turquoise/lapis bracelet/necklace. 45 grams total weight, cuff fits up to a 6.5" wrist, 1" gap, necklace is 20" long.

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Large Chinese Kangxi Wucai Jar with lid. Nice large size 15" tall x 9.5" wide.<br>I've seen a few of these in a slightly smaller size over the years, never with a<br>lid. No cracks, chips, or restorations. Overall expected glaze wear. Fantastic<br>estate fresh piece collected over 40 years ago, just now seeing the light of day<br>again.

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