The pitcher sits on a footed base and has a generous, bulbous-shaped body. It has glaze crazing typical of an 85+ year old piece of pottery, superficial flakes as noted in photos, and two hairlines at the base (see photos) which likely were acquired through use over the years. The hairlines seem tight and do not appear to threaten the integrity of the piece. P> An outstanding piece of American Spongeware! Becoming much more difficult to find- particularly in this condition!
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Embellished with beaded edges, a large, 5-petal flower, and a detailed leaf on a heavy cardboard-like material that is lined with a red polished cotton, the little purse closes via a hook and eye closure.
It is in overall fine condition with expected creasing as seen in photos, as well as some loose beadwork and a small amount of missing beadwork to the bottom center.
Professionally matted and framed some many years back, this lovely piece of wall art measures 10.5 inches wide x 13.5 inches long and remains in excellent original condition! Any discoloration, facing of color or reflection seen in photos is related to the difficulty photographing an object under glass and is NOT an imperfection to the piece.
Offered are two utterly fabulous, vintage, Victorian-era, brass-plated photo frames, each with original shelf stands on back.
De-accessioned from our personal stock as we sadly no longer have the place to display them-- and our Wedding photo was displayed in the larger frame--, the frames are in all-original condition, complete with original shelf stands attached on the rear side as well as original movable pins that secure the photos in the frames.
In the larger frame, the brass plating is in very fine condition with very minor, minuscule scratches and pitting commensurate with its 125+ years of age. Please note that in my effort to take crisp closeup shots, the silvering of the brass on the front of the frame in the larger photo appears to be quite pronounced, while in reality, it is quite subtle, and virtually un-noticable. Please see cover photo #1 for truest representation of overall appearance.
The larger frame comes complete with glass and measures 17" high x 13"; the inside measures are 9.5" x 7.5", readily accommodating an 8"x 10" photo with slight trimming. This larger size is actually quite uncommon compared to the many, many smaller-sized brass frames that were produced in the Victorian era. The larger frame is truly quite stunning and commanding.
The smaller frame has a similar amount of very teeny scratches and minor pitting, with more some wear to the brass plate where the color appears more coppery. Again, close-up photos make the wear appear much more prominent on the front than it actually is, so please view photo #1 for truest representation of coloring. This fame measures 12" x 9" and easily accommodates today's 4 x 6 photographs. This frame has not retained its glass, but just like the photo size, the frame will readily accept the glass from any modern, standard 4x6 frame.
Interestingly, whomever wrought this very detailed, family-history sampler omitted just one significant detail- the family surname!
On the left side of the sampler, the Scotch ethnicity is wrought along with the occupations of Parson and Doctor, with a 1725, antique salt box style home the domicile of the parson (?) wrought below the later 1940 domicile of the doctor (?) at New York City's Park Avenue address.
The right side of the family sampler depicts French origins with a 1777 mentor (teacher) and his red schoolhouse wrought below the 1861 farmer residing in the town of Morrisania (Morristown, NJ?).
The central aspect of the sampler depicts a number of images: a very stylish horse drawn carriage with driver and a sun umbrella--holding, female occupant, a well-landscaped, bright yellow homestead dated 1777, the ethnicity of "English" stitched out, and finally, a tall-spired village church with accompanying date of 1752.
The French Fleur de Lis is wrought into the sampler as well as the very ancient, stylized, so-called-today "swastika" cross, a symbol that can be traced back to ancient Byzantine times and which was frequently featured in early Native American culture as a symbol of abundance.
The sampler hem is completely hand-stitched. The sampler, itself, is in very fine condition retaining bright coloration and an absence of holes, tears or discoloration of any kind. Background color of the linen is an even, mellow, tannish-off-white.
A well-executed cross stitch sampler very much shrouded in mystery as to family origin!
The double gutta-percha case measures 2.5 inches wide x 3 inches long x .75 inches deep when closed, and 5 inches wide when opened. The case appears to be in excellent condition!
The two cased tin types are each further framed within different press-molded, thin, ornate, brass frame and behind a little pane of glass. Each tin type is labeled with the name of the woman: the bonneted woman is Sarah Lavinia Piquet, and the long-haired woman is Maria Rogere.
Mid-19th century age is an approximation based on clothing style as well as decorative art in photo and style of double case.
Condition of tin types is excellent- **ANY white marks seen in photographs are caused by light reflection and are NOT damage.**
The third tin type is of an unnamed woman; it is quite tiny, measuring 6/8 of an inch wide x 1 inch long.
Marked "STERLING 9" on the back, this ring features a very delicately etched bunch of blue flowers. The ring is also initialed "W" by the artist on the lower front of the ivory in an exceedingly tiny letter!
A lovely estate piece!