"large Fossil Wood Egg - 145x100mm - 1852g"

"Fossil egg-Silicified Wood from Madagascar.Perfect color and shape.no breakage transportation:DHLTNT"閱讀更多

JAPANESE PORCELAIN VASE 14 DIA

JAPANESE PORCELAIN VASE, H 14 1/4", DIA 6"閱讀更多

Antique 19th Century Meissen Porcelain of a Lady Picking Flowers

Measurements : Height: 19.5, Width:10 , Length: 8.5 Cm閱讀更多

Topkapi 3 Porcelain Plate

This striking plate is part of the Topkapi series and will be an eye-catching addition to any table. Its superb black decorations over a white background evoke the mysteries of 15th century Istanbul, depicting a vividly rendered mosque standing behind a slightly open gate. Delicate and elegant, this design can be presented along with identical ones, or it can be mixed with other pieces from the same collection for a more colorful effect.閱讀更多

Alice Black and White Chopping Board by Bethan Gray

Bold in its versatility, this exceptional chopping board exudes sculptural appeal and modern elegance. The rectangular silhouette is handcrafted of white Arabescato and black Marquina marbles, the striped pattern reminiscent of the dramatic 12th-century Cathedral in Siena. The marble layers run diagonally across the length of the board, subverting the rigor of the rectangular silhouette to create a visual intrigue and a sense of movement. Used to chop vegetables or display hors d'oeuvres during a family gathering, this piece will shine in any decor.閱讀更多

Native American, Santa Clara Pottery Jar, By Barbara Martinez, Ca 1980's, #1313

Native American, Santa Clara Pottery Jar, By Barbara Martinez, Ca 1980's, #1313 Descriptions: #1313 Native American, Santa Clara Pottery Jar, By Barbara Martinez, Ca 1980's, Classic deep carved pottery jar with traditional Avanyu serpent motif and radiating feathers around the neck. Dimensions: 8-1/2" x 8" Condition: Very good. Santa Clara-Tewa Barbara Martinez “Jo-Povi”, Cactus Flower, is a full blooded Native American Indian. She was born into the Pueblo of Santa Clara-Tewa, in 1947. Barbara was inspired to learn the art of working with clay from her Mother, Flora Narranjo. Barbara began making pottery in 1965, when she was 18 years old. Barbara specializes in the traditional handmade black and red carved Santa Clara pottery. She gathers her own clay from within the hills of the Santa Clara Pueblo. She cleans, mixes, hand coils, shapes, carves, and fires the pottery, outdoors. Barbara’s favorite piece to carve is the tall vase with the water serpent and carved feather designs. Barbara signs her pottery as Barbara Martinez, Santa Clara Pueblo. Barbara is related to the following artists: Vickie Martinez (daughter), Chris Martinez, Manuel Martinez, Sammy Naranjo (sons), and Glenda Naranjo (sister). Awards:None to date. Publications: -Santa Clara Pottery Today; -Pueblo Indian Pottery 750 Artist Biographies (Source: Indian Artists of New Mexico) “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clays gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona)閱讀更多

Artemisia N.6 Vase

Fired at two different temperatures to achieve its textured look, this impeccably handcrafted vase is finished with a white glaze. Its striking raised fish scale pattern and the unusual shape of the piece, featuring a curved rim, convey the dedicated craftsmanship and passion of the artisan. Paired with other vases from the same collection or alone, this elegant vase will make a superb decorative display piece. \n閱讀更多

Turiddu Head Vase

This anthropomorphic vase is made entirely by hand and painted in a dark gray matte monochrome tint, rich in natural pigments and resin binders that provide intense color depth. Only the eyes are glazed so they stand out, emphasizing the beauty of the gaze. The piece is inspired by ancient Sicilian legends of love and revenge between a Moor and a Maiden. The color, paying a tribute to the scattered lava island.閱讀更多

Hans Henrik Hansen: A Royal Copenhagen blanc de chine porcelain vase

A Royal Copenhagen blanc de chine porcelain vase, decorated in bas relief with figures. No. 4121. H. 30 cm.閱讀更多

The David Gainsborough Roberts Collection - Polar Exploration:...

The David Gainsborough Roberts Collection - Polar Exploration: Bowers (Henry Robertson, Birdie) souvenir miniature life belt of the Loch Torridon enclosing a pencil and watercolour view of the ship, the circular wooden frame with hand-painted flags and the words "Loch-Torridon/Glasgow", some wear, diameter approx. 10ins. Ex. Lot 103 Bonhams The Polar sale 30th March 2012. NB: Henry Bowers "Birdie" was one of the members of Robert Falcon Scott's ill-fated Terra Nova expedition and was one of the members who died alongside Scott. He joined the Loch Torridon in 1898 and this lot was sold after. The Loch Torridon's log for 1902 which Bowers kept among his personal papers.閱讀更多

Native American Pottery : 2 Beautiful Native American Hopi Seed Pots

Native American Pottery 146. Description: Pair of beautiful miniature poly chrome seed pots done in her traditional fine line and avian motifs. Both in very good condition, both signed. Dimensions: 1-5/8" x 3" & 1-7/8" x 3" Date: Ca. 1980's. Adelle Lalo-Nampeyo was born into the Corn Clan in the Hopi-Tewa Nation in August, 1959. She is one of the great granddaughters of the famous Nampeyo, who was known for reviving and expanding the beautiful ancient pottery designs from the archaeological site at Sikyatki on the eastern side of the Hopi First Mesa. Adelle was inspired to learn the art of pottery making from her Mother, the late Elva Nampeyo. She was also taught by her Grandmother, the noted Hopi potter Fannie Polacca Nampeyo. She has been making pottery since 1979. She is the sister of Miriam Nampeyo, who also is a very talented Hopi-Tewa potter, as well as Neva Polacca, Choyou Nampeyo and Elton Tewaguna Nampeyo. She specializes in Traditional Hopi pottery, black and red or yellow jars and bowls. Adelle specializes in the handmade traditional ancient Sikyatki polychrome pottery which her family is famous for. All of her materials are from Mother Earth. She hand coils all of her pottery the traditional way. She finishes her pottery by polishing it with polishing stones, paintig the designs with brushes made of yucca, and then firing the pottery in an outdoor firing pit, smothered with sheep dung. Adelle says she enjoys making seed pots most of all because they are easier to work with. Her favorite design is the fine line and eagle tail. She strongly believes that she needs to continue making pottery the traditional way because of her strong spiritual beliefs. Adelle is now teaching her children the art that her ancestors have taught her so that they can continue in her footsteps. Adelle signs her pottery as: Adelle L. Nampeyo, followed by a corn symbol to proudly denote her clan origin. (Source: Hopi Arts) A History of Pueblo Pottery: Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo's local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated most frequently with paint and occasionally with applique. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo's pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and poly chrome a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce un-decorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art. (Source: Museum of Northern Arizona) View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnav, Native American Pottery, 146. Description: Pair of beautiful miniature poly chrome seed pots done in her traditional fine line and avian motifs. Both in very good condition, both signed. Dimensions: 1-5/8" x 3" & 1-7/8" x 3" Date: Ca. 1980's. Adelle Lalo-Nampeyo was born into the Corn Clan in the Hopi-Tewa Nation in August, 1959. She is one of the great granddaughters of the famous Nampeyo, who was known for reviving and expanding the beautiful ancient pottery designs from the archaeological site at Sikyatki on the eastern side of the Hopi First Mesa. Adelle was inspired to learn the art of pottery making from her Mother, the late Elva Nampeyo. She was also taught by her Grandmother, the noted Hopi potter Fannie Polacca Nampeyo. She has been making pottery since 1979. She is the sister of Miriam Nampeyo, who also is a very talented Hopi-Tewa potter, as well as Neva Polacca, Choyou Nampeyo and Elton Tewaguna Nampeyo. She specializes in Traditional Hopi pottery, black and red or yellow jars and bowls. Adelle specializes in the handmade traditional ancient Sikyatki polychrome pottery which her family is famous for. All of her materials are from Mother Earth. She hand coils all of her pottery the traditional way. She finishes her pottery by polishing it with polishing stones, paintig the designs with brushes made of yucca, and then firing the pottery in an outdoor firing pit, smothered with sheep dung. Adelle says she enjoys making seed pots most of all because they are easier to work with. Her favorite design is the fine line and eagle tail. She strongly believes that she needs to continue making pottery the traditional way because of her strong spiritual beliefs. Adelle is now teaching her children the art that her ancestors have taught her so that they can continue in her footsteps. Adelle signs her pottery as: Adelle L. Nampeyo, followed by a corn symbol to proudly denote her clan origin. (Source: Hopi Arts), A History of Pueblo Pottery:, Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo's local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated most frequently with paint and occasionally with applique. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo's pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and poly chrome a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce un-decorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art. (Source: Museum of Northern Arizona), View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnav閱讀更多

Native American Vintage Maricopa Pottery Vase, By Barbara Johnson

Native American Vintage Maricopa Pottery Vase, By Barbara Johnson, Ca, 1970's, # 1334 Description: # 1334 Native American Vintage Maricopa Pottery Vase, By Barbara Johnson, Ca, 1970's, Dimensions: 6" x 5" diameter Condition: Excellent for Age. In 1937 to 1940, Maricopa Pottery experienced a revival due to the encouragement of Elizabeth Hart. Elizabeth Hart was a United States Home Extension Agent that noted that the previous pottery pieces (1912 to 1937) showed a decline in craftsmanship. The vessels were poor quality, lopsided and/or lumpy clay, with unevenly spaced designs. The pieces of this time period were a product of tourism, a demand for a cheap low-quality souvenir. On Elizabeth Hart's urging and by the leadership of one of the top potters of the time: Ida Redbird, Maricopa pottery started receiving publicity and support from local museums. The improved product, thin walled and symmetrical allowed the potters to increase their earnings. Through this revival the "Maricopa Pottery Cooperative" developed, with Ida Redbird as the president of 17 to 19 other Maricopa potters. At Hart's urging, it was at this time that the potters also started signing their wares for individual recognition and credit. So, any Maricopa pottery piece that has a signature and/or hallmark was made somewhere between 1937 to present. A vessel that has no signature and/or hallmark was either made prior to 1937 OR the potter forgot to sign the piece. Swastikas were a common design used in Maricopa pottery until 1941. The swastika symbol, for the Maricopa's, represents the four sacred directions, coordinates of the universe, the wheel of life, the supreme deity. Due to World War II the symbol lost its popularity with the tourists so the design was no longer used. When Mary Fernald inquired as to the meaning of other designs used, both Mabel Sunn and Ida Redbird agreed that there is no meaning behind most all of the decorations. However, frogs may have symbolized rain. All the Maricopa potters had their favorite designs and symbols, but all were free to borrow from someone else's designs. Despite the borrowing and combination of styles, many times the artist's hand is still individual enough for identification without signature. Some vessels have a whitish film on them, this has been linked to salty clay usage. If the slip is flaking off it probably is due to the slip being applied to heavily all at once. The slip adheres better to the clay if applied in layers to the desired thickness. The slip can also flake if it had been rubbed to hard with a stone. Maricopa pottery is Paddle and Anvil made. There is no temper in their decorated pots, however they did add temper to cook wares. Cook wares were made from a different clay source, they were longer fired and had sand temper added for durability. (Source: rare pottery.info)閱讀更多

Set of Four Black and White Marble Plates for 2

This elegant set features a hand-applied marbled decoration in a sophisticated color combination of black and white. These handmade enamel plates were crafted and decorated by hand using the ancient Ottoman marbling technique, which reproduces the exquisite look of natural marble. This set includes two large deep plates and two medium sized deep plates. Both of these functional pieces are ornate enough to be used as striking display pieces.閱讀更多

Dodilus Set of Three Limoges Porcelain Dishes

This sumptuous set comprises one dinner plate, one soup plate, and one dessert plate. Each piece is made in the finest Limoges porcelain that was designed and crafted in Italy. The decorations include a gold trim at the edges, while inside elegant coral branches enrich each dish, with the addition on the dinner plate and the dessert plate of the delicate portrait of a dodo with the body of a marine creature. Non-toxic, indelible, and mashine-washable, the decoration on this set adds a wonderful touch to the table.閱讀更多

Green and Silver Plumage Vase with 24K Gold

This magnificent vase is made in ceramic with artisanal methods and entirely hand-painted so that the ceramic feathers that adorn its surface are graced with green and metal hues for a striking effect. The enamels are complemented by the matte white of the interior of the piece and by the luxurious 24k gold finish of the plinth base. This exquisite object is ideal to brighten up a modern interior with sophistication and warm colors.閱讀更多

Mr. Bottle in Portoro Marble by Lorenza Bozzoli

Part of the Mr. Bottle collection, this piece reinterprets the design of the traditional milk bottle using a noble stone: Portoro marble. Sourced from Tuscan quarries, the marble was given a polished finish and its striking white veins and gold spots strikingly complement the warm glow of the brushed brass cap. Entirely handmade by the expert hands of master craftsmen, each bottle is unique, as the piece of stone from which it is created. A striking addition to any home, this piece of functional decor can also be a superb gift.閱讀更多

Zodiaco Charger

This superb charger is part of the Zodiaco collection and, either alone or combined with other pieces from the same series, will give a precious accent to any table. Its colorful decoration comprises a central round element in vivid blue, crossed with golden lines that connect the various months of the year with their correspondent astrological signs, all marked with their Latin names and vividly rendered symbols in charming, colorful details. The rim of the plate is accented with a golden line.閱讀更多

(3) SANTA CLARA PUEBLO POLYCHROME REDWARE POTTERY

(lot of 3) Native American pottery, Santa Clara Pueblo, polychrome redware vessels, including: (1) vase, signed on underside Flora Naranjo (1914-2000, daughter of Petra Tafoya Naranjo), approx 6"h, 4.25"diam, (1) wedding vase, with bear paw motif, signed on underside Camille Moquino, approx 6.75"h, 4.25"w, 4"d, (1) small jar, signed on underside Ramona Tapia (1940-2003), approx 3"h, 2.75"diam; 3lbs total Start Price $80.00閱讀更多

Set of 4 Mugs

This set of mugs can be used for tea of coffee or as simple drinking glasses for water or wine. They are hand-crafted in porcelain mixed with Italian soapstone sand. Each set will not be identical to the next, since the process involves 100% hand crafting and, depending on the thickness of the sand used, the colors mad slightly vary from the photo.閱讀更多

Native American, Historic Acoma Poly Chrome Pottery Bowl, Ca 1930's, #1084

Native American, Historic Acoma Poly Chrome Pottery Bowl, Ca 1930's, #1084 Description: #1084 Native American, Historic Acoma Poly Chrome Pottery Bowl, Ca 1930's, "Acoma Pueblo" marked to the bottom. Poly-chrome decorated in geometric motifs. Dimensions: 4"h. 7.75"dia. Condition Report: This piece is in very good condition. Some loss to the paint just above the bottom, but nothing substantial. Some background on Pueblo potter making follows: “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with applique. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and poly-chrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce un-decorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona)閱讀更多

Continental porcelain figure playing a banjo, hand painted w...

Continental porcelain figure playing a banjo, hand painted with flowers, 32.5cm high閱讀更多

(3) COLLECTION OF MATA ORTIZ MEXICO POTTERY

(lot of 3) Mata Ortiz pottery, Mexico, including: (1) black on black pot, signed Cesar Sandoval, approx 8.5"h, 10"diam, (1) polished black on black vase, approx 8"h, 7"diam, (1) incised black on black pot, illegible signature, approx 6"h, 4.5"diam; 9.75lbs total Start Price $80.00閱讀更多

Bing & Grøndahl: Juleklokker (19)

1974-1975 (2)-1976 (2)-1977 (2)- 1978 (2)- 1979 (3)-1980 (2)-1981-1982-1983-1984 og 1986閱讀更多

Lucrezia Centerpiece

Minimalist and sophisticated, this exquisite centerpiece will complement any decor, thanks to its geometric silhouette and the use of the Portoro marble, a traditional material used by the Medici family during the Florentine Renaissance. The Portoro is used for the base, on which rests a thin layer of new ceramic whose finish evokes the texture of silk and gives a precious, unique accent to the piece. Ideal to support candles or small decorative objects, this piece features a bold design that will make a statement in any room of the house.閱讀更多

AN IZNIK POTTERY TILE OTTOMAN TURKEY, CIRCA 1600

AN IZNIK POTTERY TILE OTTOMAN TURKEY, CIRCA 1600閱讀更多

"Capodimonte - porcelain figurines four continents’ 19th century"

"Set of four porcelain figures representing the classic four continents: Africa America Asia and Europe16 cm highVery detailed modelling and enamellingWith spurious 18th century Italian (Capodimonte) marks but made in Germany (Saxonia) third quarter 19th century Professionaly restored to excellent condition can be put on display immediatelyA very good and attractive antique setFrom a private Dutch collection of 18th and 19th century European porcelainWill be packed very carefully and will be shipped worldwide fully insured"閱讀更多

WELLER

Two pieces Dickensware II: pink "Ghost Bull" tankard by A. Daugherty and "Wolf Robe" vase, Zanesville, OH, 1900-05; Both marked; Taller: 11 1/4" x 5 1/2"閱讀更多

(3) GERMAN PORCELAIN MINIATURES, CARL THIEME

(lot of 3) German porcelain miniatures, including: (1) parcel gilt potpourri urn on stand, having pierced lid, body with enamel painted scenes of courting couples, blue underglaze mark, approx 7"h, 4.25"w, 3"d, (1) bud vase, with applied flowers, gilt pierced handles, painted reserve of courting couple, blue underglaze T over cross mark, attributed to Carl Thieme, approx 7"h, (1) settee, illegible blue underglaze mark, approx 5"h, 5.25"w, 2.5"d; scattered chips to flowers throughout, 2lbs total Start Price: $80.00閱讀更多

19th century Meissen floral encrusted porcelain miniature te...

19th century Meissen floral encrusted porcelain miniature teapot, hand painted and gilded, cross sword marks to the base, 10cm in length閱讀更多

Antique 19th Century Meissen Figurine of Cupid Mandolin Player

Measurements : Height: 15, Width:11 , Length: 6 Cm閱讀更多

Ellipse Vase by Karim Rashid

This striking vase is white clay was designed by Karim Rashid in 2006 and it is part of a limited series of 349 objects. It is comprised of three geometric elements finished in solid colors culminating in the mouth of the vase that has a turquoise finish outside and a vivid red interior.閱讀更多

Red Vase by Dimorestudio

This striking vase has a simple, rectangular shape, highlighted with a brass strip at the bottom and two different solid finishes, one large strip in pink and a vivid red top. The piece, in white clay, was designed in 2016 by Dimore Studio for Bitossi.閱讀更多

Native American Acoma Poly Chrome Pottery Jar, by Delores Aragon, #1173

Native American Acoma Poly Chrome Pottery Jar, by Delores Aragon, #1173 Description: #1173 Native American Acoma Poly Chrome Pottery Jar, by Delores Aragon. 2010 poly chrome painted design pottery jar signed Delores Aragon has 2nd place SWAIA ribbon. Delores had the following to say about this piece " This is a pre-20th century water jar. I can only imagine what the lady who made & painted this original piece I replicated, was praying for. Acoma relies on water & rain for so much, so certain prayers go into the entire process from getting the clay from Mother Earth to producing a piece that has its own life & shape it wants to take. The 4 sides represent the directions. Black represents the clouds. Lines are Rain which produce growth of life, plants, mankind & such. The flowers are Blessings of all the good things in life, prayers answered". Dimensions: 5'' x 6'' Condition: Excellent Dolores (D.J.) Aragon (1969- ) Delores M. Aragon is named after her grandmother, Delores Sanchez a respected potter who lived to the age of 103. The younger Delores began making clay animal figures at the age of five. She learned by watching her grandmother and mother, Marie S. Junanico. Her mother-in-law, Wanda Aragon, also reinforced traditional techniques in Acoma pottery making. Today, Delores is especially known for her fine miniatures. The artist recognized her ancestors, "The old techniques of my ancestors have motivated me even more so to become a part of this tradition. By doing so, I too try different techniques. My grandmother and those before her were strong in keeping the spirit and tradition alive." Delores believes strongly that you must feel the spirit of pottery deep in your heart. She shared the spiritual dimension of pottery: "They can be really sacred, if you believe in it. It makes me feel good - a part of our ancestors - to do it in the traditional way." (Brown 1993:19) (Source: Adobe Gallery) A History of Pueblo Pottery: “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona) View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnav, Native American, Acoma Poly Chrome Pottery Jar, by Delores Aragon, #1173, Description: #1173 Native American Acoma Poly Chrome Pottery Jar, by Delores Aragon. 2010 poly chrome painted design pottery jar signed Delores Aragon has 2nd place SWAIA ribbon. Delores had the following to say about this piece " This is a pre-20th century water jar. I can only imagine what the lady who made & painted this original piece I replicated, was praying for. Acoma relies on water & rain for so much, so certain prayers go into the entire process from getting the clay from Mother Earth to producing a piece that has its own life & shape it wants to take. The 4 sides represent the directions. Black represents the clouds. Lines are Rain which produce growth of life, plants, mankind & such. The flowers are Blessings of all the good things in life, prayers answered". Dimensions: 5'' x 6'', Condition: Excellent, Dolores (D.J.) Aragon (1969- ) Delores M. Aragon is named after her grandmother, Delores Sanchez a respected potter who lived to the age of 103. The younger Delores began making clay animal figures at the age of five. She learned by watching her grandmother and mother, Marie S. Junanico. Her mother-in-law, Wanda Aragon, also reinforced traditional techniques in Acoma pottery making. Today, Delores is especially known for her fine miniatures. The artist recognized her ancestors, "The old techniques of my ancestors have motivated me even more so to become a part of this tradition. By doing so, I too try different techniques. My grandmother and those before her were strong in keeping the spirit and tradition alive.", Delores believes strongly that you must feel the spirit of pottery deep in your heart. She shared the spiritual dimension of pottery: "They can be really sacred, if you believe in it. It makes me feel good - a part of our ancestors - to do it in the traditional way." (Brown 1993:19) (Source: Adobe Gallery), A History of Pueblo Pottery:, “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona), , View the other items in my shop:, http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnav閱讀更多

Royal Copenhagen og Bing & Grøndahl. To figurer af porcelæn (2)

Royal Copenhagen kat nr. 328 2. sort. H. 19 cm. B&G Fløjte spillende dreng nr. 1897 1. sort. H. 30 cm. (2)閱讀更多

Native American, Vintage Cochiti Pottery Bowl, Ca. 1960's, #1203

Native American, Vintage Cochiti Pottery Bowl, Ca. 1960's, #1203 Description: #1203 Native American, Vintage Cochiti Pottery Bowl, Ca. 1960's, with Ceremonial Paint- Dimensions: 5" H X 9" W Condition: Very good for age “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clays gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona), Native American, Vintage Cochiti Pottery Bowl, Ca. 1960's, #1203, Description: #1203 Native American, Vintage Cochiti Pottery Bowl, Ca. 1960's, with Ceremonial Paint-, Dimensions: 5" H X 9" W, Condition: Very good for age, “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clays gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona)閱讀更多

A LARGE FIFTY PIECE MINTONS 'ANCIENT LIGHTS' DINNER SERVICE

A LARGE FIFTY PIECE MINTONS 'ANCIENT LIGHTS' DINNER SERVICE閱讀更多

Cotton Istanbul Round Beach Towel

This striking beach towel has an unconventional round shape that enhances the abstract decoration in blue and red patches of color alternating and creating a contemporary pattern. Modern sensibility and tradition come together in this piece of functional decor that will add a touch of timeless sophistication to a day out at the beach or by the pool.閱讀更多

ENGLISH

3-gallon whiskey jug by Peatling & Sons, Importers of Wines and Spirits, Wisbech, 19th c. Stoneware; 16 1/2" x 10" dia.閱讀更多

Hand painted Royal Air Force wall plaque, reputably removed ...

Hand painted Royal Air Force wall plaque, reputably removed from an RAF building, 110cm wide閱讀更多

Minimo 3 Black Vase

This elegant and minimalist vase is part of the Minimo collection designed by architect Rubini. It is entirely crafted of ceramic with a sophisticated black color that complements its geometric silhouette. Best suited to display a single stem flower, this piece is versatile and unique and will create endless compositions, especially if displayed with the other pieces of the same series, either in the same color in contrasting all-white.閱讀更多

Pollock Set for 1 with Large Dinner Plate and Soup Plate

This set for one person comprises a large dinner plate and a soup plate part of the Pollock series that honors color and the unique technique of the artist whose name it bears in the irregular decorative pattern produced by splashes of amethyst pink color gracing the ivory white background. Delicate and modern at the same time, these dishes will add a touch of color and celebrate artisanal craftsmanship, complementing any table.閱讀更多

Gunnar Nylund, Vase, Rörstrand

Unique vase with semi-matte blue spotted crystalline glaze. By Gunnar Nylund for Rörstrand. 1930-40s. Height 14 cm/5,5" Width 11 cm/4,3". Excellent condition. Factory first. No chips, cracks or restorations. Signed "R", Rörstrand, Nylund, X, 227SW.閱讀更多

Bottiglia Fiorentina Fumé Vase

Rich brown tones fade to gray tinged with iridescent orange. Handcrafted by master ceramists in Montelupo Fiorentino with a coating of a natural mortar solution, this terracotta bottle vase by Tre Mani Design retains an inimitable aesthetic. The color changes from top to bottom in a degrade of black, brown and gray.閱讀更多

ED DIERS (1871 - 1947); ROOKWOOD

Floral vase in Iris glaze, Cincinnati, OH, 1902; Flame mark, date, model, artist's cipher; 4" x 4 1/4" dia.閱讀更多

6 Speiseteller

Wiener Porzellanmanufaktur Augarten, Porzellan, Dekor 5089 Wiener Rose, Form 62 Mozart, unterglasurblaue Marke閱讀更多

PORTUGAL PORCELAIN CACHE POTS 2 4

PORTUGAL, PORCELAIN CACHE POTS, 2, H 4 1/4"閱讀更多

Mother of Pearl, Pink and White Plumage Vase

This elegant vase was designed by Cristina Celestino for BottegaNove and its sophisticated texture features rows of parallel feather-like decorations that were entirely hand-painted by master artisans with white enamels. Individual feathers painted in a delicate shade of pink appear producing a parallel pattern of color. The base is finished in mother of pearl for a sophisticated detail.閱讀更多

13 PC. FRENCH GLAZED FAIENCE OYSTER SERVICE

13 PIECE FRENCH GLAZED FAIENCE OYSTER SERVICE CONSISTING OF 12 SERVING PLATES AND ONE LARGE MASTER PLATE, MARKED WITH IMPRESSED MARK ON THE REVERSE "VALLAURI"閱讀更多

White Abundance Vase by Sam Baron and Walter Usai

Part of a series of vases by Pretziada, meaning precious in Sardinian dialect, and inspired by the ceramic containers traditionally gifted to young brides on the island to wish joy and prosperity, this white-glazed ceramic vase is handcrafted using local decorations and techniques. Designed by Sam Baron and executed by ceramicist Walter Usai, the small clusters of delicate leaves and flowers evoke the lush Sardinian countryside that appears unexpectedly in the abandoned and unfinished architecture. The rim is embellished with sparse eyelets and a small leaf-shaped handle in the back.閱讀更多

Studio pottery including a large bowl, jar and cover by Davi...

Studio pottery including a large bowl, jar and cover by David Eeles and a celadon teapot by Jane Searle, the largest 31cm in diameter閱讀更多