Baby Bud Googleye German Porcelain Doll in original box. Great doll from the first quarter of the 20th century. Two fingers have been carefully reglued, no other damage, I only have the bottom of the box and the box has some expected wear. Box is 7.25" tall, doll is 6 5/8" tall. Eyes open and close when it stands up/lays down. b60

讀 更多的 較少的

Herend Porcelain Madonna and Baby Jesus. No cracks, chips, or restorations, hand painted 7 3/8" tall. isshelf

讀 更多的 較少的

c1890 Wood Glass Magic Lantern Slides Revolutionary war "Battle of Lexington"<br>and "Battle of Saratoga"each 4" x 7" total with 3" x 3.5" sight. No damage or<br>issues. Selling both slides shown<br>isdrawer

讀 更多的 較少的

c1870 French Sevres Style Hand Painted Porcelain cabinet plate. Nicely painted plate with no cracks, chips, restorations, or significant wear. 9.25" tw198

讀 更多的 較少的

2 Antique American Ice fishing decoy Carved wood Painted Tin fins. One with worn<br>paint, the other with nice old, likely original paint and very cool cut out tin<br>eyes that could likely be used to identify the maker. Longest 7.75" Selling both<br>for one price.<br>tw233

讀 更多的 較少的

Antique American Ice fishing decoy Carved wood Painted Tin fins. 8.25" long with original paint, The fins were made from a Liggett and Myers  tin as I can read part of it under the old original red paint. tw233

讀 更多的 較少的

c1870's Stevengraph Pure Silk Woven Picture of Steam Locomotive "The first train ran on Sept 27th 1825 from Stockton to Darlington" 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

讀 更多的 較少的

1920's Antique Condom Tin Akron tourist tubes Zeppelin Litho Vintage<br>Prophylactics Tin. Very cool 2 1/8" x 1 5/8" x .25", guaranteed authentic. A<br>handfull of these originally found by my client's grandfather about 50 years ago<br>in an old barn in West Virginia. He sold those, some for as much as $2500 each<br>via Ebay auctions, he saved the best two and here we are. One scratch at bottom<br>right below Zeppelin. Overall super clean with no rust.<br>pwdrawer

讀 更多的 較少的

Antique Miniature Sterling Repousse Plaque on Easel. Marked with British sterling hallmarks and tested. 4 5/8" tall x 3 1/8" wide at base. tw213

讀 更多的 較少的

ww1 Bronze US Victory Medal "The great war for civilization" 3" tall with<br>ribbon.

讀 更多的 較少的

c1800 2 Antique Delft Lidded Jugs. Selling the two jugs 18th-19th century. The larger is 10" to top of thumbrest x 5 7/8" wide smaller is 7" to thumbrest x 3.25" wide. Smaller jug has some small chips on footrim and one inside lid, no restorations or cracks. Larger has crazing but no chips or cracks. B38

讀 更多的 較少的

c1950's NRA Junior Division Medals Southern Californa Junior Rifle League. 2<br>very cool medals from the 40's or 50's. Minor glue residue on back from being<br>glued to shadowbox, not too difficult to remove. Selling both with penny for<br>size reference.

讀 更多的 較少的

Royal Copenhagen Flora Danica Sedum Acre "Mossy Stonecrop" Soup Bowl 9 13/16"<br>wide x 2" deep. Just a tad over 9.75" but smaller than 9 7/8". Vintage piece in<br>like new condition very closely examined with no cracks, chips, nicks on rim,<br>wear to gilding, utensil marks, or restorations. Selling the exact bowl show,<br>hand painted. I don't believe this bowl or even this size of bowl is currently<br>available for any price but you can buy an 8.25" soup bowl new for a little over<br>3k on special order.<br><br>Flora Danica: The Amazing Story of the World’s Most Expensive Dinnerware<br>February 28, 2017 / Decorate, Entertain, Gift Ideas, Registry<br>War. Diplomacy. Royal backstabbing. A Russian Empress who loved art and beauty.<br>All that went into the making of the world’s most expensive dinnerware, Flora<br>Danica by Royal Copenhagen.<br><br>Our story begins with Catherine the Great of Russia. In 1788, she was at the<br>height of her power and prestige, having come to power 26 years earlier by<br>deposing her husband in a coup. The formerly impoverished German princess was<br>now the absolute ruler of the largest empire in the world, and she followed up<br>one stunning achievement with another: Expanded Russia into the Black Sea and<br>Crimea. Made Russia a major European power. Annexed Alaska. Reformed the<br>government. Ushered in the Enlightenment. Check, check, check.<br><br>Catherine awed her contemporaries. Voltaire compared her to the Biblical Queen<br>Semiramis of Babylon. Madame Vigée Le Brun, former court painter to Queen Marie<br>Antoinette and no stranger to royalty, wrote that “…with her head held high, her<br>eagle-like stare and a countenance accustomed to command, all this gave her such<br>an air of majesty that to me she might have been Queen of the World…”<br><br>She was also the ideal Enlightenment ruler: Patron of the arts. Friend of the<br>leading philosophers and thinkers. Champion of knowledge and learning, for women<br>as well as men. The magnificent collections of St. Petersburg’s Hermitage<br>Museum, a must see on any tour of Russia, actually began as her personal art<br>collection.<br><br>In 1788, Catherine the Great was at war with the Ottoman Turks a second time.<br>Her cousin, King Gustav III of Sweden, decided to take advantage of the<br>situation and attack Russia in the back. To deter him, Russia had signed a<br>treaty with Denmark 15 years earlier. But when the war started, the Danes didn’t<br>move. They had problems of their own: their King Christian VII was insane, his<br>wife Queen Caroline Matilda had an affair, her lover Doctor Johann Friedrich<br>Streunsee fathered one of her children, the King’s mother ordered him executed<br>and the Queen banished, then had herself and the King’s elder son rule as<br>regent. But we digress.<br><br>The Russians demanded that the Danes honor their obligations. When the Danes<br>finally showed up, they came up with a smaller force than originally promised. A<br>few months later, when the war ended, the Danes felt mightily embarrassed. It<br>was also not a good idea to get Catherine the Great and Russia on your bad side.<br>But how do you make amends with the absolute ruler of the world’s greatest<br>empire?<br><br>They must’ve thought long and hard about this one and figured out three things:<br><br>First, Catherine was a well-known lover of the arts. She bought thousands of<br>paintings from all the major European artists of the day. She also commissioned<br>porcelain, metalwork, glasswork, and books, and she even wrote comedies,<br>fiction, and memoirs herself.<br><br>Second, she was also a known patron of the French Encyclopedists, a group of<br>philosophers including Voltaire, Diderot, and d’Alembert who set out to gather<br>all the world’s knowledge into one grand Encyclopedie so that it could be<br>available universally.<br><br>Finally, and this was key: They knew that the Russians had been after fine<br>porcelain for over 70 years. True hard paste porcelain was very precious in 18th<br>century Europe. Much whiter and stronger than stoneware, it was exclusively used<br>by the royalty and aristocracy, and all the major royal families of Europe had<br>set up their own porcelain factories in towns like Sevres, Limoges, and Meissen.<br>Catherine the Great loved porcelain so much, she turned the Russian porcelain<br>factory in St. Petersburg into the “Imperial Porcelain Manufactory” and placed<br>massive orders for her and her family’s private use.<br><br>And so the Danes came up with an idea: Let’s create the world’s finest<br>collection of porcelain which is also an encyclopedia of art. But it had to be<br>so amazing that Catherine the Great would (hopefully) forgive their failure to<br>help Russia during the war. They trusted the task to the Danish royal porcelain<br>factory, Royal Copenhagen, and its chief artist Johann Christoph Bayer:<br><br>They commissioned a dinnerware collection of 1,802 pieces. They used the finest<br>porcelain they could manufacture and then rimmed them in gold in a lace-like<br>detail — just to be sure it was nice enough. Other pieces featured delicate<br>flower buds that were carved out by hand:<br><br>Then, 3,000 flora and fauna from the Flora Danica botanical encyclopedia of 1761<br>would be individually hand-painted on the dinnerware pieces:<br><br><br>With this much decoration, the porcelain pieces are “overglazed,” which means<br>they are decorated after being glaze-fired in the brightening kiln to produce<br>the wide range of colors and the richness of detail. Then they are fired once<br>more at about 850°C or 1,562 °F after they are painted, to allow the paints to<br>melt and fuse with the fired glaze. Immediately after firing the gold<br>decorations look matte and dull. Their characteristic gold sheen appears only<br>after vigorous polishing with glass brushes or sand:<br><br>The result was something so magnificent, they could be used for state banquets<br>or just displayed as works of art in Catherine’s great palace in St. Petersburg:<br><br>This multi-year project was probably intended as a gift for the 40th anniversary<br>of Catherine the Great’s reign in 1802. But in 1796, Catherine suddenly died of<br>a stroke. Her death caused chaos in Europe. Her son and successor, Paul, hated<br>her and wanted to undo everything she started. He even dug up the remains of her<br>dead husband, Peter III, for an elaborate state funeral before burying him with<br>her — condemning her to spend eternity with the man she deposed and killed.<br><br>The Danes got the hint. They weren’t giving Paul the fine porcelain intended for<br>his mother — he might’ve just smashed it to spite her! But they must’ve been so<br>pleased with how this collection was coming along, their regent Prince Frederick<br>VI, ruling Denmark in his father’s name, continued its production and even<br>ordered some more, expanding it to 100 place settings.<br><br>In 1802, the production was finally finished. By now Paul was also gone: the<br>Russians finally decided he was too crazy and poisoned him, replacing him with<br>his 24-year-old son Alexander I (of War and Peace fame.) But the Danes weren’t<br>giving him their prized porcelain. The first Flora Danica dinnerware service was<br>delivered to the Danish Royal Palace, where Frederick VI used it to celebrate<br>the birthday of his father King Christian VII in 1803, probably at their<br>splendid Rococo-style Amalienborg Palace in Copenhagen:<br><br>It must’ve been a very nice thing to do for his father, who suffered<br>schizophrenia, was forced by his mother to divorce his tragically adulterous<br>Queen, and had been sidelined for over 30 years already. And Flora Danica<br>continues to be used by the Danish Royal Family for special occasions to this<br>day.<br><br>Today, Flora Danica is regarded as one of the most original and inspired<br>examples of from the golden age of porcelain. It has also been collected by<br>today’s royalty: Oprah, Princess Marie-Chantal of Greece, and various members of<br>the Kennedy family. Royal Copenhagen continues to make it by special order from<br>its factory in Denmark — the last porcelain dinnerware made in Denmark.<br>tw211

讀 更多的 較少的

Austrian Cold Painted Bronze 3 Cats at Bowl. 2.5" wide x 1" tall, great piece from the first half of the 20th century with no damage and minimal wear to paint. I've seen this mold before with the Bergman mark, this one just has Austria mark so I'm not sure but it's his style and nice quality. Franz Bergman was an Austrian entrepreneur best known for his Viennese foundry which produced many patina- and cold-painted bronze sculptures of figures, animals, Orientalist scenes, and mythological creatures. Bergman is often misidentified as a sculptor, but he himself was not the original artist for the works—rather, he hired many anonymous sculptors to execute his ideas. He signed many of the works produced by his foundry with the pseudonym Nam Greb, so as to conceal his name from the authorities and avoid penalties for immorality. Born in 1861 in Vienna, Austria, he initially inherited a bronze factory from his father and later opened his own foundry. Bergman died in 1936 in Vienna, Austria figshelf

讀 更多的 較少的

c1890 Chicago Wendell Sterling Boxed Demitasse set Retailed by S Hyman & Co. From the rarely observed firm of WENDELL MANUFACTURING COMPANY - Chicago, IL Founded by Charles Wendell in 1850 c. Became Wendell Mfg Co in 1885. In late 1890s acquired some flatware patterns and dies of Mauser Mfg Co. Active in New York with retail or wholesale outlet under the name Wendell & Co. This company closed right around 1900.Selling the set shown in this amazing silk lined Velvet covered box. The spoons are 4" long with 3/4" wide bowls and weight 7-8 grams each. Box is 12 3/8" wide. Spoons and box are immaculate. Selling the 12 spoons in the box, as good as it gets. It even has a spring lid that automatically pops up when the functional catch is disengaged. These are small spoons for coffee/tea, stuff like that. tw187

讀 更多的 較少的

1973 Elton John's Rocket Records Promotion Gebr. Hildner Miniature Aluminum train. Given out at the launch party for Elton John's Rocket Records 9.25" long with no damage or wear. This launch Party took place on a train and everyone who attended on April 26th, 1973, received one of these trains. Tw187

讀 更多的 較少的

French Sevres Style Candlesticks with Birds of Paradise. 100% hand painted candlesticks French from the first quarter of the 20th century. No cracks, chips, or restorations. good gold. 6.5" tall with 4" wide base. isshelf

讀 更多的 較少的

Italian 800 Silver Place Card Holders representing a Military Marching Band by<br>Fabbrica Argenteria Fiorentina Di Bartolini Bartolozzi (10). Selling the set of<br>10 show, very heavy for their size solid 80% silver averaging about 35 grams<br>each in weight. No damage or issues, from the third quarter of the 20th century.<br>Extremely fine quality casting and a great design. 2 3/8" tall with 7/8" bases,<br>they each have a slot behind the Fleur de lys to hold a place card.<br><br>Tested 80% silver and the mark on the base of each one 215fl indicates the maker<br>by Italian standards. These are about 60-70 years old and of a quality that just<br>can't be matched today and if it were it would be by someone like Tiffany or<br>Cartier and they would be 1k each or more.<br><br>tw210

讀 更多的 較少的

J.D. Media Zia Pottery Jar. Nicely painted jar with no damage or loss. 8.25" wide x 5.5" tall. Jose de la Cruz Medina, Zia Pueblo was born in 1935. I'm not sure if he's still creating art at 87 or not. Tw123

讀 更多的 較少的

Evaline Sellors (1903-1995) Mid Century Patinated aluminum wall sculpture "Letitia" Roman dess of joy, gaiety and happiness - by Fort Worth, Texas, sculptor Evaline Clark Sellors. 14" tall x 7 1/8" tall with no damage, possible scratch to right of nose.Evaline Clarke Sellors was born in Fort Worth, Texas in 1903. She studied art, illustration, and modeling before enrolling at the prestigious Pennsylvania Academy of Fine Arts. Sellors won the institutions' William Emlen Cresson scholarship in 1929 and 1930, allowing her to study sculpture in Europe. After returning to Texas, Sellors co-founded The Texas School of Arts in 1932 with Sallie Gillespie and Blanche McVeigh. Sellors and McVeigh were also founding members of the Fort Worth Artists Guild. Sellors taught art at a number of institutions in the Fort Worth while executing commissions for the Works Progress Administration (WPA). Examples of her work are in the collections of the Dallas Museum of Art.DeWitt McKinley (1905–1997) was first the Co-Founder of the McKinley Iron Works in Fort Worth, Texas, and then that city's mayor from 1967-1969. tw123

讀 更多的 較少的

2 Waterford Crystal Scent bottles. Selling both, tallest 4 7/8". Neither with any chips, cracks, or scratches. Both marked, the mark on the one with the dauber is faint and on the base, you have to catch the light just right. The other is marked on bottom side. One with dauber, other with silverplate lid with plastic insert. Both smell of perfume inside but could easily be cleaned with alcohol if needed. TW161

讀 更多的 較少的

1920's American Legion School Award For and Country Bronze medal. 2.5" wide, heavy well cast bronze medal with no issues. tw208

讀 更多的 較少的

Vintage African Brass Wall bell type of thing. The only thing I'm sure of is<br>that is very cool and has some age on it. 19" total height with tassle x 3.75"<br>tall. The gold thread tassle at the bottom is actually really nice. Really not<br>even sure it's African. Really the more I think about it I'm feeling this wall<br>piece was a turn of the century something else and at some point mid 20th<br>century someone decided these guys would look cooler on it than the cross or<br>whatever was on it before did. Sorry I don't have a picture of the whole thing.<br>I'm working with a fixed setup and don't have time to change lenses.<br>b1

讀 更多的 較少的

Marioni Italy Handmade Ceramic Seal Figure. 7.5" tall x 8.25" long with no cracks, chips, restorations, or crazing. Figshelf

讀 更多的 較少的

c1900 Antique Italian Spice box. Antique spice box, 19th to very early 20th<br>century. Unsure where it was made but the writing is Italian I believe. Strong<br>and stable with gap to left side shown, not rickety. All drawers intact with no<br>issues. 14" tall x 9.5" wide.

讀 更多的 較少的

Steve Walsh Norfolk Island Pine Turned wood spittoon form vessel 6.5" wide x 5" tall with no damage or wear.

讀 更多的 較少的

Antique Wedwood Black Basalt Kenlock ware Creamers Ottawa and Floral. Both estate fresh. One slightly larger 5 3/8" spout to handle x 2.25" tall and unmarked. It had a note in it dating it to 1798, I'm not sure if that's correct but it's obviously Wedgwood and I'm guaranteeing it 19th century or earlier. The slightly smaller one is from late 19th to about 1910, I don't have time to look up the date code. Neither have any damage, loss, or restorations. Selling both tw129

讀 更多的 較少的

****All James Avery jewelry on the Estate Fresh Austin website is used/pre-owned authentic jewelry that was originally purchased directly from James Avery by the owners or family of the estates we liquidate. Each item will have some degree of wear which will be shown in the photos but will be in clean condition, no boxes or paperwork will be included unless shown in the photos. The item you are purchasing is the exact item photographed as we only have one.******* Retired James Avery Lis Maltese Cross. Sterling silver 2" tall x 1.5" wide x 13.3 grams with no issues.

讀 更多的 較少的

Huge c1960 Metales Casados Mixed Metals/ Abalone Crab Centerpiece Serving Dish. 21.25" x 12 5/8" x 5.25" tall. No damage, some wear to the inner silver plating. This is a very substantial and well made piece that would stand out in any setting.

讀 更多的 較少的

Large Mid Century Bali Carved wood bust with glass eyes. Some expected cracks in the wood from drying over time, Possible repair to one eyes. It was wearing this necklace when I found it so it comes with it. isshelf

讀 更多的 較少的

18th/19th century Bronze Jester Bell. Incredible natural patina on this bell.<br>Really nice detailed, crisp casting. I honestly think it's possible that this<br>was created to summon a jester. Guaranteed mid 19th century or older, I can find<br>no references to a similar bell, small bend on base. 4.5" tall. It came from a<br>large collection of table/servant bells.<br>isshelf

讀 更多的 較少的

Vintage Solid Bronze Table Bell Big Bad Wolf and Three little pigs. Very heavy for it's size, well cast solid bronze, acorn clapper. 3.75" tall, extremely nice ring to it. isshelf

讀 更多的 較少的

1999/2000 Steiff Club edition bear. Selling the bear in the box with no issues with bear and clean box. Bear is 13" tall. isshelf

讀 更多的 較少的

c1890 Currier and Ives Cats Hand Colored Lithograph "Three Little White Kitties". Original Over 100 year old print displays wonderfully well but does have some foxing/discoloration and damage to frame. 12.5" x 16.5" with frame. NATHANIEL CURRIER (1813-1888, American) and JAMES MERRITT IVES (1824-1895, American) Nathaniel Currier and James Merritt Ives founded the American printmaking firm Currier and Ives. Known for their famous and inexpensive hand painted lithographs by well-known artists, their prints became extremely popular. Currier and Ives lithographs were especially popular amongst the Victorians and their new found love of nature. Animals, and especially cats, became subjects of their prints and decorated many American homes. After the deaths of both Currier and Ives, their grandsons continued the business until 1907 when the firm closed due to the public’s lack of interest in lithographs due to improvements in photoengraving and offset printing.

讀 更多的 較少的

6 French St Louis Napoleonic Brandy Snifters. 5" tall with no cracks, chips, restorations, scratches, or gold wear. Selling the 6 shown in like new unused estate fresh condition with original labels. tw129

讀 更多的 較少的

c1890 Bohemian Cranberry Overshot Centerpiece. 7.25" tall x 9" wide with no cracks, chips, or restorations. One tip is slightly rough to the touch shown to the right side of the last pic. This will most likely be dissasembled for safe shipping. The base is weighted sterling unmarked. b13

讀 更多的 較少的

Large Vintage Carved Cameo Conch Shell 5.75" long x 4" wide x 3.75" tall with no<br>cracks or chips, lots of carving, fantastic shell from the first half of the<br>20th century.<br>tw147

讀 更多的 較少的

c1910 ac Williams Large Cast Iron Elephant Bank. Trunk wiggles, loss to tip of trunk, no other damage. 6 5/8" long x 4 7/8" tall. B70

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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.

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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.

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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.

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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.

讀 更多的 較少的

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.

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

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

讀 更多的 較少的

c1920 German Jointed Bisque Googly eye doll. Minor loss to one thumb, and two<br>chips on right top of leg next to each other. No other issues.<br>TW252

讀 更多的 較少的

c1880 Wax Head doll in Christening Dress. Really great doll, the eyes do open<br>and close but they tend to stick and take a few minutes to adjust when sat up or<br>down. 24.5" long with dress, 16" long from head to feet, head is 2 5/8" from top<br>of head to chin. Stable crack to the right of the shoulder covered by dress that<br>doesn't go to the bottom of the wax part, shouldn't be an issue but worth<br>mentioning. The dress is incredible, silk I believe. It is a little frail and<br>has a few inconspicuous holes overall very presentable.<br>TW252

讀 更多的 較少的

1920's AC Williams Graf Zeppelin Cast Iron Bank. No damage, good paint, 6.75" long. TW252

讀 更多的 較少的

c1870 Carved Wood bust. High quality hand carved bust plaque from the 19th century. 7.5" tall x 6.75" wide total x 4.25" deep.

讀 更多的 較少的

Giuseppe Rispoli (1882-1960) Pair of Neapolitan Street Scenes Oil on panel. Selling the two paintings shown in good condition with no detectable issues. 16.5" x 12.75" each framed. Selling both for one price.

讀 更多的 較少的

Alabama "Feels So Right" Presentation Record framed Given to Tom Middleton. I have not examined this outside of the frame but I acquired it from Tom Middleton's(1953-2020) estate personally along with about 400 pairs of cowboy boots and everything cowboy imaginable. Selling this, what I assume to be a record that was framed and given by Alabama for the work tom did for the album. 19.5" x 21.5" framed, 12" x 12" sight. 5.5" wide plaque. In 1973, Tom found a catalog of instruments from Warehouse Music Sales in Fort Worth that contained multiple dobros. He sold his two guitars and used the funds to buy his first dobro. After it arrived, his life was never quite the same. If you ever had the pleasure to hear him play, you saw Tom doing what he loved. Before making his way to Arizona to continue his education, Tom worked as a towboat deckhand for the United Maritime Union on the Ohio, Monongahela, and Allegheny Rivers. Tom received a BS in English Literature from Northern Arizona University. During his time in Flagstaff, he was a member of the Mormon Lake Hotshots on the Coconino National Forest. Bill Mack's "All Night Open Road" show from WBAP in Dallas kept him company at the Mormon Lake Guard Station. He became lifelong friends with several of his fellow firefighters and kept in contact with them the rest of his life. But music kept calling, and Tom began working for R.Q. Jones Resophonic Guitar Company in Wanette, Oklahoma. Now he wasn't just playing dobros, he was making them. In fact, he made one for a young dobro player named Jerry Douglas who is now widely regarded as "the" dobro player of our time. The dobro in question now belongs to the Music Instrument Museum in Phoenix. Jerry and Tom became good friends and whenever Jerry toured through Austin in recent years, they would take in some live music together at Ginny's Little Longhorn Saloon among other music venues. In 1978, Tom went to work for Peaches Records and Tapes in Oklahoma City, then The Handleman Company, and finally Pickwick Distribution Company in Dallas. These three jobs showed Tom the buying, selling, and distribution side of the music business. By 1985, Tom was working as a Print Production Manager at The Richards Group, an advertising agency in Dallas. He excelled at print production and would stay with it in Austin at both GSD&M and McGarrah Jessee from which he retired after 24 years shortly before his death. Tom's work in print production should not go unrecognized. There is no doubt that countless times you've seen ads, packaging, and products that he produced – you just didn't know it. He had a wealth of experience and knowledge and was always keen to share what he knew with young producers and creative types. When Tom retired, his coworkers, vendors, suppliers,

讀 更多的 較少的

1920's 2 Small flower basket doorstops. Selling both, one 7 1/8" tall and one 5<br>5 /8" tall. Both guaranteed early 20th century American doorstops from the<br>1930's or earlier.

讀 更多的 較少的

c1900 McKinley Roosevelt Jugate 1.25" . Vice President Hobart died in 1899, so<br>the Republican convention chose New York Governor Teddy Roosevelt as McKinley's<br>running mate in the 1900 presidential election. Selling the exact button shown<br>front and back, guaranteed authentic turn of the century c1900 jugate.

讀 更多的 較少的

Signed Greater Tuna Posters Jaston Williams/Joe Sears. Two very cool original posters from Greater Tuna, likely before it went nationwide as it started in Austin. 14.25" x 22.25" each. Both originals with original signatures, estate fresh from a local estate that obviously had something to do with the production and/or were close friends. I actually purchased these a few years ago along with other Greater Tuna memorabilia the wife is pregnant so it's time to clear out stuff that I wanted to keep to make room for a baby. Selling both, framed behind anti glare glass.

讀 更多的 較少的

c1900 McKinley Roosevelt Jugate 7/8" . Vice President Hobart died in 1899, so the Republican convention chose New York Governor Teddy Roosevelt as McKinley's running mate in the 1900 presidential election. Selling the exact button shown front and back, guaranteed authentic turn of the century c1900 jugate.

讀 更多的 較少的

c1900 McKinley Roosevelt Jugate 7/8" . Vice President Hobart died in 1899, so the Republican convention chose New York Governor Teddy Roosevelt as McKinley's running mate in the 1900 presidential election. Selling the exact button shown front and back, guaranteed authentic turn of the century c1900 jugate.

讀 更多的 較少的

c1910 Beaded Handbag Art Nouveau Castle scene. Very unusual one of a kind handbag from the early 20th century with a strong Nouvea/Arts and crafts influence. 10.5" tall x 6.25" wide in good condition with very little detectable loss or repairs. No chain at top but that's an easy fix from another more common handbag. TW252

讀 更多的 較少的

Vintage Persian Enamel case 4" x 3.25" with no damage to enamel. Has a<br>functional spring that pulls it closed, mid 20th century. The metal is likely a<br>lower grade silver below 80%. Was likely originally a case but the possibilities<br>are endless, hand painted.<br>TW252

讀 更多的 較少的

c1890 Punch and Judy Vesta match holder/striker. Late 19th to early 20th<br>century, plated brass. 2 3/8" tall, with strong lid that makes and audible click<br>when sprung open and stays shut tightly.<br>trinketdrawer

讀 更多的 較少的

c1880 Austro-Hungarian 800 Niello Silver Cheroot Case Snuff box. 4" x 2 3/8" x 1" x 131 grams. Heavy solid box with no dents or bends, functional hinge and claps, snaps shut and stays sealed until button is pressed. Functions as intended 140 years ago. Hallmarks on interior of Lid and base. TW255

讀 更多的 較少的

Antique Sterling handle sock darner. Late 19th to early 20th century, tested<br>sterling handle with a few small dents, N monogram 6" long.

讀 更多的 較少的

c1860 Old Paris Porcelain Plaque. 8.75" tall x 6 7/8" wide. No cracks, chips, or restorations. 2 7/8" central plaque. My take on this piece is it's possibly like a mid 19th century version of a Photobooth picture. Perhaps this guy was traveling in Paris and there was a guy set up in a booth selling these frames and painting these plaques on the spot as portraits as the bottom appears to read "Love Fullman" Some wear to gilding and a few scratches on plaque.

讀 更多的 較少的

Unworn 1970's University of Texas Longhorns Football interscholastic league medal. Still in what I assume to be the original box that it's obviously been in "forever" with the permanent indentation in the foam.

讀 更多的 較少的

Nymphenburg 865 Hand Painted Porcelain tray. Great piece from the first half of<br>the 20th century. 7.25" x 5 1/8"<br>tw260

讀 更多的 較少的

Danish Bari Special Handcut Smooth Freehand (7200) Tobacco Pipe Bari pipes often take a rather classic bowl and combine it with a more conservative (shaping) shank and stem that is beefed up on growth hormones. More often than not, when we get a Bari estate it combines a bowl and stem that are battling for design and element dominance rather than agreeing to unify. In the case of this bowl, though, the grain wins. 7" total lenth, 2.5" tall bowl, 1 1/8" wide inside the bowl,  2" wide outside bowl. 

讀 更多的 較少的

c1920 Hubley Kitty and Fido Dog Still Bank doorstops. Larger and heavier than most still banks of the period these tended to double as doorstops whether that was the original intention or not. Selling both show, both guaranteed from the first quarter of 20th century. Both about 5" tall. TW1

讀 更多的 較少的