16" & 6.6" Emma Melendez Taxco modernist sterling silver abalone choker/bracelet. No issues, circa third quarter of the 20th century .16" long necklace with other measurements in pictures. No issues. Selling the necklace shown in the pics. 6.6" bracelet 16" necklace.

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16" 10mm David Yurman Sterling/18k Figaro Chain. Guaranteed authentic David<br>Yurman, marked and tested 18k gold and sterling. 52.7 grams No damage or<br>significant wear.

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16" 1920's Art Deco Sterling silver choker necklace. Very cool necklace, no detectable markings, tested sterling. 16" long 62 grams, likely European. Could be reversible.

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16" 1940‘s Taxco Art Deco Sterling silver Mexican Disks necklace. Solid sterling silver tested and guaranteed Marked Taxco Sterling as shown in one of the pics.. No issues, circa second quarter of the 20th century. Weight and measurements in pictures.

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16" Antique Japanese Meiji Period Imari Charger . No cracks, chips, or restorations, late 19th century.

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16" c1900 Wilhelm Schiller Austrian Majolica Vase 11.75" wide with handles. X 15 7/8" tall. No cracks, chips, or restorations.Wilhelm Schiller began production of porcelain and earthenware in Bodenbach, Bohemia in 1829, operating under the name of Schiller and Gerbing. In 1885, the firm was dissolved and renamed Wilhelm Schiller and Son and remained in operation until the onset of World War I. It is unknown whether the firm of Schiller and Gerbing produced majolica, but the firm of Wilhelm Schiller and Son is clearly the most prolific of the Bohemian manufacturers of majolica.The color palette used by Bohemian majolica makers including Schiller is much more subdued than that of their Staffordshire counterparts. The background of many Schiller pieces is of a matte-finished taupe, light gray or turquoise with glazed surface features in various shades of brown and black. The interiors are usually glazed in turquoise. Much of the firm’s production reflects the transition from traditional Victorian majolica to the Art Deco style. The most common Schiller pieces are decorative vases, jardinieres, table centers and ewers. No examples of Schiller majolica plates, bowls or other functional table-wares are known.Wilhelm Schiller and Sons majolica was marked with the letters ‘WS&S’ that was either impressed or contained within a raised cartouche.

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16" c1930 Pink Cut Depression Glass Lamp. Incredible lamp 6" wide at base with<br>no cracks, chips, or restorations. There are some very tiny chigger bites where<br>the hole was drilled for the cord which is to be expected as it's not a flat<br>surface, it likely had a grommet 85 years ago. The lamp and switch work<br>TW95

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16" David Anersen Norway Sterling silver blue enamel leaf for modernist necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. No issues, marked as shown.

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

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16" Locaspino Zuni sterling silver needlepoint turquoise bib/choker necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. No detectable markings. 16" necklace, other measurements in pics.

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

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16" Retired James Avery heavy modernist sterling necklace. Weight and measurements in pics. Selling the exact piece shown in great condition with no damage or significant wear. James Avery was a World War II veteran and the founder of the James Avery Artisan Jewelry company: Early life Born in Chicago in 1921, Avery was a decorated pilot who flew 44 missions over Germany. After the war, he studied industrial design at the University of Illinois and taught at the University of Iowa and the University of Colorado. Jewelry making Avery began making jewelry in his free time around 1951. He was inspired to create art that he found meaningful, and hoped others would find it meaningful too. Starting the business In 1954, Avery began selling jewelry from a wooden box at summer camps in Kerrville, Texas, where he moved with his wife. He printed his first catalog in 1957 and opened his first store and manufacturing facility in Kerrville in 1967. Designs Avery‘s designs were inspired by his faith, and often included faith-based images like crosses, chalices, doves, and fish. He also designed a pin for the Apollo XII astronauts, and was commissioned by NASA twice more.

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16" Retro Southwestern sterling and lapis freeform cross necklace.. Sterling fitting and chain, genuine Lapis Lazuli, weight and measurements in pics. All precious metals are tested and guaranteed,

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16" Retro Sterling Toggle necklace with Pink Visual heart charm.  This was a promotional item given by pink visual to actresses.  If you purchase it I can send you a link of a picture of her wearing the necklace online if that's of interest.  Nice solid heavy necklace, Tests sterling marked what looks like JC 925. The heart could easily be cut off if not wanted, I could do it if asked but obviously wouldn't unless asked. 59.3 grams.

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16" Retro Taxco Mexican sterling silver onyx beaded tab choker necklace. Solid sterling silver tested and guaranteed Marked Taxco Mexico 925 as shown in one of the pics close to the clasp. No issues, circa last quarter of the 20th century. Weight and measurements in pictures.

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Vintage Barry Kieselstein Cord Carnelian beaded necklace with Sterling frogs/ladybug 16" long, rare if not one of a kind.

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16" Vintage Carol Felley Amethyst and sterling southwestern necklace. No issues, measurements and weight in pics.<br><br>Following her passion for painting and jewelry design Carol moved to New Mexico<br>after graduating from Carnegie Mellon University with a Fine Arts degree. She<br>was inspired by the jewelry making community in the Southwest and opened a<br>design and jewelry manufacturing business in Albuquerque, New Mexico which she<br>owned and operated for thirty years.<br><br>She has also been deeply moved by her volunteer work with hospice and decided to<br>develop a new jewelry company called “Style Conscience” dedicated to raising<br>awareness and support for specific causes that she is passionate about. Carol<br>has rededicated her efforts and has combined her love and talent for jewelry<br>design with her passion for making a difference in the world.<br><br>Carol has developed her own unique signature jewelry collections that raise<br>awareness jewelry to a new level of design and beauty. She believes that women<br>want to wear something precious and meaningful that is beautifully designed to<br>express their support for important causes. Carol’s jewelry is crafted from<br>precious metals and gemstones and each individual piece is beautifully finished<br>by hand.”<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. 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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16" Vintage Native American sterling silver shell heishi turquoise tab necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Unmarked.. No significant issues

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16" Vintage Santo Domingo shell bead stamped sterling silver tube necklace. Solid sterling silver tested and guaranteed beads with no apparent markings, with weight and measurements in the pictures. No issues, circa third quarter of the 20th century.

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Vintage Southwestern sterling silver tube bead necklace. Tested and guaranteed solid sterling silver fittings with weight and measurements in the pictures. No detectable issues or markings. Great piece from large collection of Native American jewelry purchased in the last quarter of the 20th century and never worn for the most part. 16" long.

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16.5" & 14" Vintage Native American sterling silver heishi turquoise necklaces. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Unmarked.. No significant issues Selling both necklaces shown, length shown in pictures.

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16.5" & 23" Vintage Santo Domingo Pueblo Heishi shell necklaces bird fetish. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Unmarked.. No significant issues Selling both necklaces shown, length shown in pictures.

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16.5" 1970‘s Navajo sterling silver chip inlay sunface squash blossom necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. 16.5" long, apparently unmarked.

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16.5" Polia Pillin(1909-1992) Mid century Modern California Art Pottery Bowl<br>late 1940's-50's. Exceptional early heavily potted Pillin piece just discovered<br>estate fresh. Bought from Polia for $75, I'm thinking the 101 on the tag<br>indicates it was likely her 101st piece made. This is a really big bowl with<br>typical crazing and 3 of the tiniest glaze flakes on the outside rim. No cracks,<br>chips, or restorations.<br><br>Polish-born Polia Pillin (1909-1992) and her husband William established their<br>ceramic studio, The Pillin Art Pottery Company, in their Los Angeles, CA garage<br>in 1948. Her husband shaped and glazed the pots that became canvases that Polia<br>used to paint fanciful scenes of people and animals in the mid-century style.<br>Thousands of pieces were produced and Polia became one of the most highly<br>regarded of contemporary studio potters today.<br><br>The clay used for Pillin pottery was typically red-brick in color. William<br>experimented with different glazes and produced some pieces without Polia’s<br>artwork. However, it was Polia’s artistic designs that garnered her<br>international recognition. Polia was inspired by the Cubism movement and by the<br>works of Pablo Picasso whom she greatly admired. Her style is often referred to<br>as “Byzantine”. Polia’s favorite subjects were women, horses, birds, fish and<br>other animals painted over colorfully rich glazes. The overall pallet had an<br>organic, jewel-toned quality.<br><br>Each piece of Pillin pottery was hand-thrown, glazed, painted and hence, unique.<br>Because Pillin worked from her garage (and in her kitchen when she lived in<br>Chicago), she did not have access to expert tradesmen, chemists or specialized<br>equipment that could mass produce her work. For that reason, most Pillin pottery<br>is highly crazed. Rare pieces with little to no crazing command higher values.<br><br>Most pieces of Pillin pottery were produced beginning in 1948 and marked on the<br>bottom with Polia’s signature “Pillin” in either thick or thin black ink. Rare<br>pieces produced in her Chicago kitchen in 1946 and 1947 are incised “46” or<br>“47”. Some very early pieces are marked “W+P” above the Pillin signature to<br>indicate William throwing the pieces and Polia decorating them. Thicker thrown<br>pieces tend to indicate earlier works.

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16.5" Retro Carol Felley Sterling silver malachite beaded pendant necklace. Solid sterling silver tested and guaranteed with the markings shown in the pictures markings, with weight and measurements in the pictures. No issues, circa last quarter of the 20th century.

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16.5" Vintage Navajo pearl sterling silver beaded necklace, weight and measurements in the pictures. No issues, circa last quarter of the 20th century. 16.5" long necklace with other measurements in pictures. No issues. Selling the necklace shown in the pics. It is a little different, but the beads are handmade, it tests sterling silver, has the right interior chain, clasp, etc. I believe the whole thing is Navajo made.

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16.5" Vintage Navajo sterling silver cone beaded necklace w/turquoise pendant . Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century.

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16 5/8" tall Antique Parian Figure Sculpture Woman in ornate dress 19th century<br>8" wide at base. Small chip inside base rim. No cracks, other chips, or<br>restorations. Large heavy piece. Weighs 9 pounds. Marked B&B with H on top and S<br>on bottom in a diamond.

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168ct Boulder Opal drilled pendant/bead. Selling the exact stone shown. Has a<br>clean 2mm hole drilled through it. I have several of these I will be offering<br>them separately. They were on a 24k gold necklace with large 24k beads between<br>each stone. The gold has already been recycled and I'm hoping to repurpose these<br>as they are expensive stones that were worthy of putting on a necklace that had<br>thousands of dollars worth of gold on it. The possibilities are endless, one of<br>them or a few would be great in or out of a setting. Buying the exact stone<br>shown 58mm x36mm, weighs 168ct.

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17" 40‘s-50‘s Vintage Zuni sterling silver petit point bib necklace turquoise. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Stones secure, a few with old fractures.. Circa second quarter of the 20th century. Chain appears later.

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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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17" c1940‘s Navajo sterling silver high grade turquoise pendant necklace Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa second quarter of the 20th century. Unmarked.. No significant issues

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17" Retro Southwestern Touch of Santa Fe sterling channel inlay necklace 5mm wide with no issues.The initial idea was born in Santa Fe, New Mexico in the heart of the Native American art district to cater to the educated collectors of southwest jewelry and art, and the every day American consumers which are interested in a modern look that carries value and pizzazz . A Touch of Santa Fe was founded in 1993 in Albuquerque, New Mexico. ATSF grew rapidly to become one of the largest producers of Native American crafted lapidary (Inlay) jewelry. The collectors of southwestern jewelry and art have recognized for the past 24 years ATSF as the only company in the industry that offers a lifetime guarantee on its products, along with a wide variety of both men and women’s jewelry styles in an unlimited selection of color combinations.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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17" Southwestern sterling silver onyx, lab opal arrowhead form pendant necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. No issues, circa last quarter of the 20th century. Unknown maker.

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17" Vintage Continental Beaten Copper Mixed metals tray. This is a rare form in<br>this line in amazing condition. It's solid copper with a pewter or silver<br>plating I believe then lacquered. Wall hanger on back, decorative or functional<br>piece, really big, really great with no significant issues.<br>isshelf

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17" Vintage Native American Sterling, turquoise and antler necklace. 17" long, beads and other metal is solid sterling, genuine turquoise, pendant is 2" 45.7 grams. Marked FB on reverse side.

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17" Vintage Native American sterling, turquoise, and coral beaded pendant necklace.

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c1900 Chinese Blue and White Nanking Crackle Glaze Floor Vase Hand Painted<br>Emperor 17 3/8" x 8" wide. Nice painting, firing flaw as shown in emperors<br>clothing. No cracks, chips, or restorations

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17.5" c1950 Vintage Navajo pearl sterling silver hand stamped beaded necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. 17.5" long, circa mid 20th century with no significant issues. All handmade, hand stamped beads.

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17.5" JCJ Southwestern Modernist sterling silver bib necklace w/earrings. Circa last quarter of the 20th century, tested and guaranteed solid sterling silver. No apparent issues. Unknown maker.

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17.5" Sterling Silver and Agate bead Necklace. Nice vintage necklace with 1.5" agate stone at center, no damage 75 grams.

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17.5" Vintage 1960‘s Navajo sterling silver Bisbee turquoise 3 pendant necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Center stone could have tight old stable fracture, please see pics, circa third quarter of the 20th century. Unmarked. This has an old 60‘s-70‘s mark on the back labeling it as Bisbee, the center and the right stones look like they could be Bisbee, the other with a tad of green looks more like some higher grade Royston. I didn‘t mine these of course and probably would not confidently call them Bisbee without Bisbee having been written on the back long ago. There are many grades and forms of Bisbee.

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17.5" Vintage Barry Kieselstein Cord 14k/Sterling Frogs Necklace. Guaranteed authentic, no issues, clean. 95.2 grams.

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17.5" Vintage Santo Domingo sterling silver shell/turquoise heishi necklaces . Solid sterling silver beads tested and guaranteed with weight and measurements in the pictures. No issues, circa third quarter of the 20th century. 16.5" and 17.5" Selling both, 1970‘s.

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17 5/8" c1860 Japanese Sometsuke Charger hand painted blue underglaze.<br>Exceptionally large charger in great condition. One very small flake on the rim<br>shown just to the right of the plate holder in the bottom of the third pic. No<br>other issues, no cracks, large chips, or restoraitons.<br>isshelf

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1709 French Land Grant Texas? The acrylic case measures 17" tall x 20" wide. I haven't had a chance to figure out what territory is being discussed here as I don't speak French. I did acquire it with some early Texas documents/land grants with presidential signatures but none quite this old. I feel like this is likely a really important document and would be grateful for any type of info regarding the territory discussed here or anything else.

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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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1786-1821 George III British Sterling Sugar tongs. Illegible makers mark and no town mark so uncertain of exact year or maker. Late 18th to early 19th century 5 5/8" long 28.3 grams.

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1789 George III Sterling Thomas Wallis London Fancy Engraved bird spoon. About as incredible as 234 year old spoons get. 8.75" long with no issues, gilt bowl. 56.5 grams.

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1797 British George III Sterling fish server. No damage or issues, 11.5" x 3.1" at widest point. 144.3 grams. The handle may be slightly weighted, but most of the weight is in the thick blade with fantastic hand engraving. Monogram as shown, likely some sort of royalty. London hallmark dating it 1797, makers mark I.O, I am unsure who that is, possibly John Orme. tw255

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17th Century Chinese Kraak bowl. Nice piece of high quality antique chinese porcelain, thin with 4 symmetrical indentations on the sides. 5.75" wide x 1 7/8" tall with absolutely no cracks, chips, or restorations, not even any rim frits, there is some expected glaze wear to the inside bottom of the bowl. chinashelf

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17th Century Persian Hand written/colored Manuscript page. Very old description taped to reverse outside of frame, this is framed between two pieces of glass, so glass on both sides, both sides visible. Frame is 13.5" x 9.75"

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17th-18th Century Bronze Sukhothai Buddha Statute Thai Ayutthaya Shakyamuni. Great early Thailand bronze buddha 18th century or older. 10.25" tall x 3.5" wide. Very heavy solid bronze with clay in base. TW7

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17/18 世紀中國三彩釉陶香爐 6.5 英寸手柄 x 3.5 英寸深 x 5.25 英寸高，帶蓋子。配有古董但可能後來安裝的木盒和破爛的布包裹著它。當然會更好地包裝以便運輸. 幾個尖點上有輕微的釉面磨損，沒有大的缺口，沒有裂紋，沒有修復。

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18" Retro Sterling/Amethyst multicolor quartz necklace. Natural stone and sterling beads, sterling clasp Largest beads are .5" thick 58.4 grams total weight.

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18" 1970‘s Santo Domingo sterling, wood, brass, shell Naja heishi necklace, weight and measurements in pics. Solid sterling Naja and beads, no markings. All precious metals are tested and guaranteed,

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18" Antique Persian Sterling/copper on brass mixed metals tray. Late 19th to<br>early 20th century, solid silver (tested) and copper on brass. Late 19th to<br>early 20th century. Large tray with hanger on back to use as wall hanging.

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18" Fannie Chavez Navajo sterling silver spiny oyster tab necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa last quarter of the 20th century. Diné artist Fannie Chavez is known for her silver jewelry. She learned her silversmithing from her mother and great-grandfather on the Navajo Nation and has been active ca. 1971 to present day. Fannie Chavez (1944- ) Fannie Platero is the daughter of Mary Platero and Arturo Chavez. She is mother to Patricia Platero. Fannie‘s early stamps are Fannie Platero between 2 rounded lines, Navajo; FNE Platero, Sterling; also used F; now stamps F.C.

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18" French Lalique Champs-Elyses Bowl. This one is about 20 years old, fresh<br>from a 4 million dollar home in extremely clean preowned condition with no<br>chips, cracks, tiny nicks, scratches on top or sides. Very slight shelf wear to<br>the base as this thing does way a ton. Current retail on this is $3800.<br>Item# 1121600<br>Dimensions: H 7.48" x L 18.11" x W 7.48" (H 19.00 cm x L 46.00 cm x l 19.00 cm)<br>Weight: 13.67 lbs (6.20 kg)<br>The spectacular rows of trees lining the most beautiful avenue of the world<br>inspired the design of the finely engraved crystal leaves that adorn the<br>Champs-Elyses Crystal Bowl, designed by Marc Lalique Crystal in 1951. In this<br>work of art, the artist captures the beautiful essence of Paris. This emblematic<br>artwork was designed in 1951 by Marc Lalique Crystal.<br>Handcrafted in France.

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18" James Avery Semi-Retired Sterling Charm Necklace. I know the Owl charm is retired and fairly difficult to find, not sure about the others, all James Avery, all with little to no wear. The loop has been previously cut on the Owl and the Love hand.

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18" Konstantino 18k gold and sterling station necklace 18" long 21.5 grams, clean with no issues. Center parts are 18k gold on one side and 18k gold on toggle.Konstantino was born in Filiadona, a small village located in the heart of Greece, where the Ancient city of Melitea once stood. There, he watched his father closely as he worked on the farm, building machines and tools of his own, developing a great appreciation for the art of hand craftsmanship, history and archaeology. As a young boy, Konstantino would uncover broken ancient ceramics, coins and marbles in the fields, sparking a profound connection to his heritage.1978: A musical influence Following his love for music, Konstantino became a disc jockey in the city of Athens, collecting everything from jazz, blues and rock ‘n roll, to folk music from around the globe. Musical legends and artists inspired a stylistic fluidity that introduced an essence of glam rock to the scene. Konstantino began curating his own aesthetic identity as a creative mind, artist and style icon. Influencing what would become the rule breaking spirit that drives the design team at Konstantino to this day.1983: Jewelry saved my life Konstantino fled the music scene of Athens in search of an oasis, he took a weekend trip to the island of Hydra where he ended up living for the next 15 years. It was on this magical island that he fell in love with jewelry, collecting and curating collections of his own, whereby in 1988 the first Konstantino store opened.1991: Annette Hydra is not only the birthplace of Konstantino’s love for Jewelry but is also where Konstantino met his soon to be wife and creative partner, Annette. Together, from the ground up, Konstantino Jewelry soon established its presence in the United States and global market.1998: Global Impact As the admiration and desire for the Konstantino brand spread, the dream continued to grow, where now our designs can be found in many countries globally. With the addition of a longstanding presence in stores across the United States, Konstantino is honored to represent an evolution of the Grecian style, to the world of fine jewelry lovers.2016: A Family Future Konstantino and Annette’s children, Julian and Phaedra joined the team, further continuing the legacy of passion and risk for the craft of gold smithery and design. This new generation leads with knowledge, humility and a natural instinct for the dynamic of the Konstantino brand. Preserving the brand’s core philosophies and expanding on its already established style, is a challenge that’s been taken on with confidence.

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18" Native American Sterling Beaded discs necklace. Bottom disk is 7/8".<br><br>All precious metals are tested and guaranteed, if Stated sterling it's<br>guaranteed to be 90% silver or more, all clasps are functional, I will not offer<br>anything here with any significant issues. Measurements and weight should be<br>shown in the pics if not otherwise described in the listing.

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18" Retro Beaded sterling hearts necklace. No damage or issues 14.5 grams solid sterling hollow beads.

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18" Silpada sterling necklace. No damage or issues, marked 925 and silpada mark<br>on pendant, tested sterling also. 31 grams

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18" Southwestern Jay King - Desert Rose Trading turquoise and sterling beaded necklace. Bottom pendant 2 5/8" tall x 1 7/8" wide. Not Native American made. 49.4 grams

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18" Vintage Navajo sterling silver beaded turquoise pendant necklace 5 drop. No damage or issues, Buying the Necklace shown with no damage, circa 1970‘s, no detectable markings other than the sterling and other stamps on the tubes by the clasp. Tested and guaranteed solid sterling silver.

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18" Vintage Navajo sterling silver turquoise tab beaded necklace. Solid sterling silver tested and guaranteed with weight and measurements in the pictures. Circa third quarter of the 20th century. Illegible/unresearched artists marking.

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18-20mm 26" Chinese Republic period hand painted porcelain beaded necklace. No damage or issues. Very substantial necklace with weight and measurements in pictures. More often found are the "rinky dink" version of this with smaller beads and more common printed designs on the beads.

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18.25" Meiji Period Kutani Charger with Japanese Bathhouse Scene. Nice large charger with unusual decor from the last half of the 19th century with no damage, expected wear to gilding on rim. Selling this charger, estate fresh. There was another with the same decor almost identical with only the slightest variations due to being hand painted. If you change the qty to 2 you'll get both. isshelf

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Vintage H Navajo sterling silver pink mother of pearl butterfly necklace. Tested and guaranteed solid sterling silver with weight and measurements in pictures. Unidentified/unresearched artist. 18.5" long.

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18.5" Vista Alegre Mottahedeh Lowestoft Rose Large Floor Vase 7" wide. No cracks, chips, restorations, crazing, or gold wear.

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1800's Bohemian Beer Glass Hand Cut. 8.75" tall x 3 7/8" wide at rim. One tiny<br>chigger bite on rim, several chips on foot mostly really small, one fairly<br>significant shown in last pic.

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1800's Middle Eastern Brass Dallah with stick handle. Well over 100 years old. Dents in handle, nice patina all over, tinned interior. 8.5" tall 11" wide with handle.

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Antique Shaker Pantry Box Painted by listed Artist Betty Fischer 15.25" wide x<br>7.75" tall<br><br>Mary Elizabeth "Betty" Fischer (1931-2016) Maryland, Folk Artist. Betty Fischer<br>known for her original paintings on antique wood shutters, bird houses, barrel<br>slats and more. www.liveauctioneers.com/item/53924277<br><br>Mary Elizabeth "Betty" Fischer (1931-2016) Maryland, Folk Artist. Betty Fischer<br>known for her original paintings on antique wood shutters, bird houses, barrel<br>slats, and more.<br>Betty was very active and enjoyed gardening, sewing, and playing the piano, but<br>she will be most remembered as an accomplished and talented artist. Although she<br>did not start painting until the age of 43, she picked it up very quickly and<br>established a successful art career. Her paintings have been seen hanging in the<br>University of Maryland, the Cannon Office Building, several restaurants, other<br>professional offices, and the homes of many friends and long-time customers.

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1800's US Military Large Gold gilt Brass Eagle with 13 star flag hat badge. 4 5/8" tall with 4" wingspan, no issues. b3

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1830's Spode Copeland Garrett Footed Comotes Pair. Selling the pair shown in the<br>most amazing condition imaginable for even 10 year old porcelain but especially<br>for 180+ year old pieces such as these. No cracks, chips, restorations, crazing,<br>wear to gilding, wear to enamel, or utensil marks. Hand painted and wonderful.<br>10.25" handle to handle x 2 7/8" tall. I'm also including a pic of an example of<br>one of these with a hairline, crazing, and some wear bringing $818.18 in an ebay<br>auction in 2010. These have great painting and strong embossing, the feet are<br>really great.<br><br>Following the death of his father Josiah Spode II in 1827, Josiah Spode III kept<br>a watching brief over the Spode works. Incapacitated by an unfortunate accident<br>at the factory in 1802, he was unable to engage in the day to day business. On<br>his death in 1829 the executors administered a long standing agreement which saw<br>William Taylor Copeland running the London retail business as well as holding<br>one quarter share in the factory. At the termination of the agreement on March<br>1, 1833, Copeland purchased the remaining shares in the factory and the London<br>business. Being greatly involved in in politics, in developing art school<br>education, and living the life of a well to do London gentleman, Copeland<br>engaged one of his senior London employees as a partner and Thomas Garrett took<br>responsibility for overseeing the smooth running of the Stoke factory.<br><br>The factory grew in size during this partnership and the production of<br>porcelain, earthenware, and stoneware continued. New shapes were added and<br>patterns and designs were influenced by the rococo revival that dominated<br>fashions in the 1830s. Copeland & Garrett's bone china and felspar porcelain<br>attracted the attention of highest echelons of society, and after her Majesty<br>Queen Victoria's accession to the throne in 1837, she acquired wares for both<br>Buckingham Palace and Windsor Castle. Despite the prominence of their porcelain<br>productions they continued to make earthenware in even larger quantities with<br>markets at home and abroad. Among their finest productions are the printed<br>patterns some of which were traditional designs from Spode's time and other<br>newer patterns introduced for the contemporary market.<br><br>After 14 years, in 1847, the partnership was dissolved and Garrett returned to<br>London while Copeland continued to run the business.<br>tw221

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1832 Thomas Shaw Georgian Silver Snuff Box and Vinaigrette. Largest 2 1/8" x<br>1.25" x .5", vinaigrette 1.25" x 7/8" x .4". Bother overall good condition with<br>good hinges and tight closures, some expected very small dents and overall wear.<br>Selling both.<br><br>Definition of vinaigrette: silver vinaigrette is a small receptacle to contain<br>scented vinegar used by ladies to ward off faintness. The earliest-known<br>examples in separate form dates from 1492. Such pieces were popular from the mid<br>18th century, They were made in innumerable forms and styles (such as circular,<br>oval, polygonal, heart-shaped or shell-shaped, and in fantasy forms, such as a<br>shoe, book, watch-case, purse, acorn...) in silver, gold or porcelain, with a<br>pierced metal grille under the stopper or the securely hinged lid to cover a<br>sponge saturated with a scented substance. Fully sterling silver hallmarked on<br>both lid and base: Maker: TS . Thomas Shaw who was registered in Birmingham<br>between 1818 & 1837 and is famous in making silver vinaigrette and snuff Box.

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1837 Schoolgirl Sampler with Error. Early antique yarn sampler 19.75" x 23.5"<br>framed. Interestingly it is missing the I in the alphabet. Overall good<br>condition with expected toning, some small holes in the base cloth, recently<br>reframed within the past 20-30 years.

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1839 Writ of Republic of Texas signed Stephen William Blount. Stephen William Blount (1808-1890), signer of the Texas Declaration of Independence, soldier, and county official. This was part of the Elton M Hyder collection and once on display at the University of Texas law library hance the label identiying it as what it is framed in behind the glass. Rare document with an important signature. 12.5" x 15 framed, 9.5" x 7.5" document size.

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1840's Akerly & Briggs New York Coin Silver Sugar Tongs. Rare pair of American Handmade coin silver sugar tongs with a Pseudo British hallmark which I find interesting. 6 5/8" long 43 grams. tw255

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1842 Sterling Silver Inkwell Desk Set Robert Gray & Son Glasgow, Scotland.<br>Rectangular stand fitted with two removable glass inkwells, with sterling tops,<br>flanking the centered foliate engraved pen holder, hallmarked RG&S, marks<br>for Glasgow, rampant lion hallmark, date letter X, approx 4.75"h, 10.75"w,<br>6.5"d, 597 Grams Silver weight not counting the Glass inserts. One small dent on<br>top shown in pics, not a distraction and an easy repair if desired.TW197

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1843 Rococo British Teapot Hand Painted Gold Pattern #8677. Great Teapot with pattern number and other marks below that which should make identification simple along with this incredible mold. Registration mark on base and lid dates it to 1843. No cracks, chips, or restorations, very clean gold. Slight stains in interior only. 10.5" handle to spout x 7.25" tall. Amazing to find in this condition a 178 year old teapot. There was a spot on one side that I wiped off, just dirt. isshelf

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1844 Oeuvres de J Racine 6 Volume set in French. Complete set 6" x 9" books in<br>great condition for 177 year old set of books. Some foxing in the first few<br>pages on each side, gilt edges, externally clean with minor shelf wear. No water<br>damage or missing pages.

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1849 Sibour (1792-1857) Catholic Archbishop of Paris Bronze Medallion. Solid bronze, clean as shown, nice antique medallion, Measurement shown in both cm and inches.

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1850 年代水銀玻璃聖杯和窗簾繫帶。無裂痕、缺口或修復。非常好，鍍銀損失非常小。高腳杯高 4.25 英吋 x 寬 3.75 英吋。窗簾帶尺寸為 4.5 英寸寬 x 5 3/8 英寸，帶螺絲。

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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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1856 Texas Governors Elisha M. Pease/Edward Clark Signed Document. Interesting<br>document because it's signed by the Current Governor at the time Elisha Pease<br>and the Then Secretary of state and later Governor for a short time Edward<br>Clark. 12" x 16" document in 20" x 15" matting. It's loosely mounted to thick<br>framing paper and could easily be removed for re-matting. Expected toning with<br>no major issues, embossed state of Texas seal that may not show in the pics.<br><br>Clark moved to Texas in 1842 and set up a law practice.[1] He served in the<br>Texas Annexation Convention and two terms as a state representative in the Texas<br>Legislature. During the Mexican–American War he served on the staff of Major<br>General J. Pinckney Henderson and fought in the Battle of Monterrey.[2] When the<br>war ended, he served as secretary of state under Governor Elisha M. Pease and as<br>lieutenant governor serving under Governor Sam Houston.[1] When Sam Houston<br>refused to take an oath of allegiance to the Confederacy, Clark became<br>governor.[2]<br><br>Slave quarters of Edward Clark's home in Austin. He enslaved nine people.<br>Among Clark's first actions was to order the surrender of all fire arms and<br>ammunition from private merchants to the state. Furthermore, all privately owned<br>firearms were to be canvassed. Few weapons were ever turned in and most Texans<br>did not comply for fear of future confiscation.<br><br>After losing the governor's race by 124 votes to Francis Lubbock, Clark became a<br>colonel in the Texas militia during the American Civil War. In 1863 he joined<br>the Confederate States Army and was commissioned colonel of the 14th Texas<br>Infantry Regiment. He commanded the unit, as part of the Greyhound Division,<br>until being wounded in the Battle of Pleasant Hill.[1] A promotion to brigadier<br>general wasn´t confirmed by the Confederate Congress and he left the service;<br>however, in 1865 he was made a brigadier in the militia. He fled briefly to<br>Mexico at the end of the American Civil War, and returned home to Marshall,<br>Texas.[1]<br><br>Elisha Pease bio<br><br>Texas Republic<br>A native of Enfield, Connecticut, Pease moved to Mexican Texas in 1835. He soon<br>became active in the Texas independence movement and after the Texas Revolution<br>began, Pease became the secretary of the provisional government. He served as<br>the assistant secretary at the Convention of 1836 but was not an elected<br>delegate to the Convention. After independence had been won, Pease was named the<br>comptroller of public accounts in the government of the new but temporary<br>Republic of Texas.<br><br>Texas State<br>Following the annexation of Texas to the United States, Pease was elected to the<br>Texas House of Representatives in 1845 and reelected in 1847. In 1849, he ran<br>for the Texas Senate from District 11 (Brazoria and Galveston counties) but lost<br>to John B. Jones who was sworn in on November 5, 1849. Pease contested the<br>election, was declared the winner, and was sworn in four days later on November<br>9, 1849.<br><br>Pease first ran for governor in 1851 but withdrew from the race two weeks before<br>the election. He was elected in each of the next two elections, 1853 and 1855.<br>As governor, he paid off the state debt and established the financial foundation<br>that the state would later use to finance its schools and colleges.<br><br>In 1856, surveyor Jacob de Córdova of the Galveston, Houston, and Henderson<br>Railroad Company named a newly discovered river in West Texas the "Pease River"<br>after the governor.<br><br><br>The E. M. Pease Middle School is located at 201 Hunt Lane across from El Sendero<br>subdivision in the Northside Independent School District in San Antonio, Texas.<br>Civil War and aftermath<br>During the American Civil War, Pease sided with the Union. He nonetheless<br>enslaved several people; census records show ten enslaved people living and<br>laboring at Pease's Austin plantation in 1860.[2] After the war, he became a<br>leader in the state Republican Party and was appointed as the civilian governor<br>of Texas in 1867 by General Philip H. Sheridan, who was the military head of the<br>Reconstruction government. Pease's policies as governor alienated both<br>ex-Unionists and ex-Confederates and he resigned in 1869.<br><br>Elisha and his wife donated land to the City of Austin that would eventually<br>become Pease Park.<br><br>Pease died of apoplexy in Lampasas, Texas. He was buried in Oakwood Cemetery in<br>Austin, Texas.

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1860 Antique Bronze Statue with Woman Holding net. High quality bronze most<br>likely French from the third quarter of the 19th century. 10" tall and very<br>heavy for it's size as it's solid bronze. She has a tiny pin sized hole through<br>her hand that she's holding up indicating she possibly had something a string or<br>something in her hand at one point. No other issues.

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1860's Hotel Hot Tea Server Samovar Staffordshire Silver Lustre 15.5" tall x<br>11.5" wide. Circa mid 19th century with no cracks, chips, crazing, or<br>restorations. Some wear to the Platinum as shown, Spigot Turns and works. Rare<br>and unusual item.

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1860's Minton Majolica Game Pie Dish with lid. English Victorian majolica game-pie dish, Minton, c.1862, lid with game animals resting on ferns and leaves molded in relief, base modeled as a woven basket with oak branch handles, impressed mark Minton with date cypher, small area of restoration at tip of mallard's wing, approx 7"h, 13.25"l, 8"w, 6.25lbs. No damage or restorations other than the tip of the wing shown and described. isshelf

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1865 Dollhouse folk art pottery slip decorated Red clay rocking chair. Great piece 8.75" tall x 4 3/8" wide. Old professional restoration to right wing of chair. Looks to have been broken and professionally restored, but that was long ago, only visible under closed examination. I guarantee it to be of period, not totally sure whether it's American or British as I have seen similar examples from both countries. tw260

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1866 Thomas Bradbury and Sons Siverplate and Cut Glass Biscuit Jar. Very special<br>piece with diamond registration mark dating it to 1866. Top quality cut glass<br>with no cracks or chips, some expected very minor roughness to outside rim that<br>goes inside holder. No wear to plating. 7.25" wide at base x 8.5" tall.<br>TW167<br><br>The business traces its origin to Fenton, Creswick & Co, a partnership involving<br>Matthew Fenton (an apprentice of Thomas Law), Richard Creswick and William<br>Watson. They were active as silversmiths and Sheffield platers and were among<br>the first to enter their mark at the Sheffield Assay Office in 1773.<br>In 1789 Fenton left the firm and was replaced by Edward Oakes. The firm changed<br>its style to Fenton, Creswick, Oakes & Co. In 1795 the partnership was dissolved<br>and the business was continued under the style of Watson & Co under the<br>partnership of Thomas Watson, James Fenton and Thomas Bradbury I (a former<br>apprentice of the firm).<br>Later, Thomas Bradbury II (son of Thomas Bradbury I) and William Watson (nephew<br>of Thomas Watson) were admitted to the partnership.<br>In 1831 William Watson retired and the business was continued by Bradburys<br>(Thomas I and II) under the style of Thomas Bradbury & Son.<br>The firm was active at Arundel Street, Sheffield with London showroom at 12<br>Gough Square, Fleet Street.<br>In 1855 the firm changed its name to Thomas Bradbury & Sons, under the<br>partnership of Joseph and Edward Bradbury (sons of Thomas Bradbury II).<br>In 1877 the partners were Thomas Bradbury III (brother of Joseph Bradbury) and<br>John Sutherland Henderson.<br>The partnership was dissolved in 1888 and the firm was managed by Walton Turner<br>Bradbury, Joseph Bradbury Jr and Frederick Bradbury (sons of Joseph Bradbury<br>Sr). Frederick Bradbury is the author of the fundamental book "A History of Old<br>Sheffield Plate".<br>The business was converted into a limited liability company in 1905, under the<br>style Thomas Bradbury & Sons Ltd.<br>The company closed its activity in 1943 and dies and tooling were bought by<br>Atkin Brothers.

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1870 年美國女學生針尖採樣師傑西‧皮爾森 (Jessie Pearson)。 18.25" x 19.75" 帶框。B49

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Frame measures 14.5" x 12 3/8" canvas measures 7 3/8" x 9 3/8" really ornate 3"<br>deep frame with no major issues. No issues or restorations to painting. There<br>were two brackets added to the back to hold the painting in as the original<br>nails are missing. There was a modern cover over the back canvas to protect it,<br>that'll be re installed prior to shipping. Estate fresh at the time of this<br>listing this is the first time it's been for sale in a really long time.<br><br>He married his first wife in 1871, maybe this is her? Regardless this is one of<br>his earlier pieces from before he got famous.<br><br>Born  December 9, 1848 (1848-12-09) Lockport, New York<br>Resting place  Glenwood Cemetery, Lockport, New York 43°10′53.73″N 78°42′33.1″W<br>/ 43.1815917°N 78.709194°W / 43.1815917; -78.709194<br>Died  May 12, 1915, Stamford, Connecticut, United States<br><br>Burr H. Nicholls (December 9, 1848 – May 12, 1915) was an American painter who<br>studied art with Carolus-Duran in Paris and first exhibited his work in London<br>at Dudley Gallery. Most of his works were based upon scenes from the seven years<br>that he studied and lived in Europe.<br><br>Nicholls was married three times, but it was his marriage to his second wife,<br>Rhoda Holmes Nicholls, that caused a media sensation across the United States.<br>In 1897 both Burr and Rhoda Nicholls submitted paintings to the Paris Salon;<br>Rhoda's was accepted with honorable mention but Burr's was rejected. This<br>triggered a period of marital discontent followed by separation. Their divorce<br>was finalized in 1906 and was reported in many American newspapers. Journalists<br>warned women of the peril of pursuing vocations that put them in competition<br>with their husbands.<br><br>Early life<br><br>Burr H. Nicholls was born in Lockport, New York to Luman Nicholls and Ann<br>Halliday Nicholls. Painters in his family included his mother and his nephew<br>Henry, son of his brother Mark. Henry made copies of several of Burr's paintings<br>including a Brittany farm scene and The Red Staircase.<br><br>Marriage<br><br>His first of three marriages was to Alice McDonald or Alethea P. McConnell in<br>1871; she died in 1876.<br><br>Nicholls met the English artist Rhoda Holmes during a trip to Venice. They<br>married in 1884 at Lyminster Church in Sus, England, honeymooned in Venice and<br>sailed for the United States in the spring of 1884.<br><br>The couple exhibited their works in some of the same shows, like the Chicago<br>Interstate Industrial Expositions. In 1893 the Nicholls lived in a "cosey" home<br>and both had studios on the top floor. By 1896, Nicholls lived with his wife in<br>a West 50th Street mansion in New York City with their daughter and son, Rhoda<br>Olive and Arundel Holmes Nicholls.<br><br>The couple's marriage became contentious when in 1897 one of Rhoda Holmes<br>Nicholls works was accepted with honorable mention by the Paris Salon, but<br>Burr's work was denied. The couple separated the following year. Their divorce<br>was finalized by September 18, 1906 and "newspapers widely warned women about<br>the dangers of success and its potential influence on marital and domestic<br>bliss."<br><br>His final marriage was to Josephine Lewis of Buffalo, New York. Her brother was<br>Dr. Park Lewis, a "well-known physician".<br><br>Education and career<br><br>Nicholls studied art in Buffalo, New York with Lars (L.G.) Sellstedt and with<br>Carolus-Duran at the Paris Beaux Arts. He studied and worked in England, Paris,<br>Italy and Brittany for seven years which provided inspiration for his paintings<br>for years. Most of Nicholl's paintings were made of European subjects and<br>settings, like A Street Scene in France and A Quiet Corner, Venice, exhibited at<br>the Pan-American Exposition of 1901 held in Buffalo, New York.<br><br>His first exhibition was in 1879 at London's Dudley Gallery. Nicholls exhibited<br>at "every important exhibition in America" and the Paris Salon. His work was<br>favorably received at the 1891 Society for the Promotion of Art exhibition at<br>Eden Musee [New York].<br><br>The Buffalo Fine Arts Academy, now the Albright-Knox Art Gallery, had acquired<br>works by Nicholls by 1882.<br><br>He and his third wife were members of the Buffalo Historical Society.<br><br>Death<br><br>Nicholls died in May, 1915 in Lockport, New York.<br><br>Collections<br><br>Albright–Knox Art Gallery: Hunting up a Quotation and A Group of Fowls<br><br>Peabody Institute: The Vegetable Garden<br><br>Pennsylvania Academy of the Fine Arts: Effect of Sunlight<br><br>Andrew Carnegie and Parisian M. Johannot were collectors of his works.

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