Carl Harry Stålhane

Carl Harry Stålhane, vase, second sorting閱讀更多

Russian Imperial Porcelain Easter Egg 3.5''x2.5''. A

Russian Imperial Porcelain Easter Egg 3.5''x2.5''. A fine hand painted and gilt egg from their imperial factory. It depicts a palm sunday celebrant child holding a candle. Unmarked, 19th century. Some scattered light surface scratching with some roughness around hole edges.閱讀更多

Bode Willumsen, Vase

Vase by Bode Willumsen Signed: Bode Willumsen 1946 No 6 of 15 pieces Height: 26 cm Danish ceramics Scandinavian design Nordic decor閱讀更多

CHINESE PORCELAIN VASES C1900 PAIR 16 DIA

CHINESE, PORCELAIN VASES, C1900, PAIR, H 16 1/4", DIA 8 1/2"閱讀更多

Levade mit Reiter-Spanische Reitschule Hofburg Wien 1926

Porzellan, farbig und gold staffiert, Höhe 23 cm, Sockel bezeichnet Döbrich Augarten, Wien, unterglasurblaue Marke um 1980, Modellnr. 1591, Malernr. 31, Modell von Prof. Albin Döbrich 1926 (Ru)閱讀更多

Urn Attributed to Archimede Seguso

“Scavo” glass urn, classic form with verdigris metal handles attributed to Archimede Seguso. Murano, Italy. 17.5″h, 12” dia. 1980 $3,500閱讀更多

Hopi Pottery Bowl, by Joy Navasie, the Frogwoman, CA 1980's, #710

Native American Hopi Frogwoman Pottery Bowl 710. Description: Native American Hopi Frogwoman Pottery Bowl Ca. 1980's, Beautiful low-profile polychrome bowl with incurved rim and traditional motif done on her unique buff slip. Joy Navasie (1919 - 2012) second Frog Woman - Yellow Flower Dimension: 2-3/4" x 9-1/2" Condition: Very good condition, with minor rubs/surface scratches. The Artist: Joy Navasie (second Frog Woman - Yellow Flower) was among the most famous of Hopi-Tewa potters. She learned the skill from her famous mother, Paqua Naha, the first Frog Woman. Joy was born in 1919 and recalls that she started making pottery when she was about 17 years old. Paqua Naha, just a few years before she passed away, developed the white ware pottery style in the mid-1950's. Joy Navasie picked up the tradition and continued it until her retirement in 1995. Now, her daughters (Marianne Navasie, Leona Navasie, Natelle Lee, Loretta Navasie Koshiway and Grace Lomahquahu) have continued the tradition. Joy Navasie signed her pottery with a frog hallmark, as did her mother. There is a difference in the way they each drew the feet of the frog. Paqua Naha used short straight toes and Joy Navasie used webbed toes. Photo (left) courtesy of Rick Dillingham, Fourteen Families In Pueblo Pottery. October 2012 Update: We are saddened to pass on the news that Hopi Pueblo potter Joy Navasie (Frog Woman) has passed away. We understand that she had been in poor health for several years and was in an assisted living facility. (Source: Adobe Gallery) Find more pottery from the American Southwest here: http://www.etsy.com/shop/CulturalPatina?section_id=15777760&ref=shopsection_leftnav_1 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, Hopi Frogwoman Pottery Bowl, 710. Description: Native American Hopi Frogwoman Pottery Bowl Ca. 1980's, Beautiful low-profile polychrome bowl with incurved rim and traditional motif done on her unique buff slip. Joy Navasie (1919 - 2012) second Frog Woman - Yellow Flower, Dimension: 2-3/4" x 9-1/2", Condition: Very good condition, with minor rubs/surface scratches. The Artist: Joy Navasie (second Frog Woman - Yellow Flower) was among the most famous of Hopi-Tewa potters. She learned the skill from her famous mother, Paqua Naha, the first Frog Woman. Joy was born in 1919 and recalls that she started making pottery when she was about 17 years old. Paqua Naha, just a few years before she passed away, developed the white ware pottery style in the mid-1950's. Joy Navasie picked up the tradition and continued it until her retirement in 1995. Now, her daughters (Marianne Navasie, Leona Navasie, Natelle Lee, Loretta Navasie Koshiway and Grace Lomahquahu) have continued the tradition. Joy Navasie signed her pottery with a frog hallmark, as did her mother. There is a difference in the way they each drew the feet of the frog. Paqua Naha used short straight toes and Joy Navasie used webbed toes. Photo (left) courtesy of Rick Dillingham, Fourteen Families In Pueblo Pottery. October 2012 Update: We are saddened to pass on the news that Hopi Pueblo potter Joy Navasie (Frog Woman) has passed away. We understand that she had been in poor health for several years and was in an assisted living facility. (Source: Adobe Gallery), Find more pottery from the American Southwest here: http://www.etsy.com/shop/CulturalPatina?section_id=15777760&ref=shopsection_leftnav_1 , 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

MYOTT SON CO. HAND PAINTED TRUMPET JUG

MYOTT SON & CO. HAND-PAINTED TRUMPET JUG, H 7 1/4", L 6"閱讀更多

Bordlampe udført i fajance

Dekoreret med maskeroner, guirlander og bladværk. H: 51 cm excl. fatning閱讀更多

Saxbo, Bowl

Saxbo bowl Signed: Saxbo 86 Height: 5 cm Diameter: 12 cm Danish ceramics Scandinavian design Nordic design Original vintage閱讀更多

Satsuma Vase

Schätzpreis: 1'000 - 2'000 CHF Satsuma Vase Japan, Meiji-Periode, H 26 cm. Vase mit kurzem Hals und hoher Schulter, zum Fuss hin verjüngend. Attraktive Samurei-Darstellung. Feine Satsuma Keramik mit zartem, polychromem Dekor mit Gold in detailreicher Ausführung. Provenienz: - Schweizer Privatbesitz ; Asiatika; JAPANISCHE KUNST; Porzellan閱讀更多

Royal Crown Derby Imari Paperweight Brown Pelican, White Pelican and

Royal Crown Derby Imari Paperweight Brown Pelican, White Pelican and Collector's Guild Duckling (3) Condition Report: Categories: Ceramics, Lot Description:, Condition Report:, Condition Report:, Categories:, Ceramics閱讀更多

Native American, Hopi Poly Chrome Pottery Vase by Marianne Navasie # 1194

Native American, Hopi Poly Chrome Pottery Vase by Marianne Navasie # 1194 Description: # 1194 Native American, Hopi Poly Chrome Pottery Vase by Marianne Navasie. Hopi vase featuring flowing geometric designs, signed on base with frog hallmark of Marianne Navasie (Hopi, 1951-2007), fourth quarter 20th century. Dimensions: height 9.5 in. x diameter 7 in. Condition: Excellent for age, has some light surface scuffing. Hopi-Tewa Reservation Marianne Navasie is the daughter of famed Joy Navasie, and the grand-daughter of world renowned Paqua Naha, the original frog woman. Marianne was born in 1951, and has been making pottery since she was 18 years old. Although, Marianne was only three years old when her grandmother died, she does recall her and her mother always working with the clay. Marianne has mastered the white ware look pioneered by Paqua, and carried on by her mother, and now Marianne is continuing with the family tradition. Marianne stated, “ My Mother always pushed us to stay with traditional hand coiled pottery making methods, and to carry on the frog style.” One look at Marianne’s pottery and it is evident that she has mastered the art which was created by her ancestors. She gathers all her materials (natural pigments) from within the Hopi Reservation. Marianne cleans, mixes, hand coils, shapes, sands, paints, and fires her pottery, outdoors, with sheep dung. Marianne signs her pottery with the “Paqua”, (frog) symbol, but does put a tadpole next to it so it indicates her place within her family tree. Marianne is left handed so her work will move in the opposite direction of her mother‘s. Awards: -Santa Fe Indian Market -New Mexico State Fair -Gallup Indian Ceremonial 1st place -Scottsdale Hopi Show -Flagstaff Hopi Show Publications: -Hopi-Tewa Pottery 500 Artist Biographies -Fourteen Families in Pueblo Pottery -Southwest Pottery for Anasazi to Zuni -Collecting Southwestern Indian Arts and Crafts -Cover of Gallup Ceremonial Brochure (1978) Source: material-insight.com) “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, Hopi Poly Chrome Pottery Vase by Marianne Navasie # 1194, Description: # 1194 Native American, Hopi Poly Chrome Pottery Vase by Marianne Navasie. Hopi vase featuring flowing geometric designs, signed on base with frog hallmark of Marianne Navasie (Hopi, 1951-2007), fourth quarter 20th century. Dimensions: height 9.5 in. x diameter 7 in. Condition: Excellent for age, has some light surface scuffing. Hopi-Tewa Reservation, Marianne Navasie is the daughter of famed Joy Navasie, and the grand-daughter of world renowned Paqua Naha, the original frog woman. Marianne was born in 1951, and has been making pottery since she was 18 years old. Although, Marianne was only three years old when her grandmother died, she does recall her and her mother always working with the clay. Marianne has mastered the white ware look pioneered by Paqua, and carried on by her mother, and now Marianne is continuing with the family tradition. Marianne stated, “ My Mother always pushed us to stay with traditional hand coiled pottery making methods, and to carry on the frog style.” One look at Marianne’s pottery and it is evident that she has mastered the art which was created by her ancestors. She gathers all her materials (natural pigments) from within the Hopi Reservation. Marianne cleans, mixes, hand coils, shapes, sands, paints, and fires her pottery, outdoors, with sheep dung. Marianne signs her pottery with the “Paqua”, (frog) symbol, but does put a tadpole next to it so it indicates her place within her family tree. Marianne is left handed so her work will move in the opposite direction of her mother‘s. Awards:, -Santa Fe Indian Market, -New Mexico State Fair, -Gallup Indian Ceremonial 1st place, -Scottsdale Hopi Show, -Flagstaff Hopi Show, Publications:, -Hopi-Tewa Pottery 500 Artist Biographies, -Fourteen Families in Pueblo Pottery, -Southwest Pottery for Anasazi to Zuni, -Collecting Southwestern Indian Arts and Crafts, -Cover of Gallup Ceremonial Brochure (1978), Source: material-insight.com), “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

Prunk-Vase mit Deckel und Sockel

Porzellan, Wandung mit feinen und breiten Goldrändern, rosa und türkis gehöhten Rocaillen, Deckel mit gekrönter Kartusche von 2 Kindern gehalten, Deckel, Baluster, Fuß und Sockel mit großen plastischen bunten Blumenzweigen, 4 sitzende Kinder mit Blumen in den Händen, vorderseitig buntgemalte Parklandschaft mit Watteaupaar, davor Krone, hier und auf Fuß 2 Kinder mit Blumengirlanden in den Händen, rückseitig großes Blumenbukett, Höhe 70 cm, Sächsische Porzellan-Manufaktur Dresden, unterglasurblaue Marke. 1. Hälfte 20. Jh. (Ru)閱讀更多

Native American, Vintage Hopi Poly Chrome Pottery Bowl, by Marianne

Native American, Vintage Hopi Poly Chrome Pottery Bowl, by Marianne Navasie Jim, 1980's, #1331 Description: #1331 Native American, Vintage Hopi Poly Chrome Pottery Bowl, by Marianne Navasie Jim, 1980's, (b. 1951, Hopi Tribe AZ) . White ground ceramic work with traditional geometric patterns painted in red and brown around the exterior. Signed with her cipher of a frog and tadpole on the base. Dimensions: 2.5"H x 4.5" Apex Diameter Condition: Excellent. Colors are well kept. No areas of major damage or blemishes. Marianne Navasie (1951-2007) Marianne Navasie Hallmark Hopi PuelboMarianne Navasie, Hopi/Tewa, Kachina Clan, active 1970-2007: Black and red on yellow, black and red on white bowls. Marianne was the Granddaughter of Paqua Naha (1st Frog Woman) daughter of Joy Navasie (2nd Frog Woman); wife of Harrison Jim. Reference: Hopi-Tewa Pottery: 500 Artist Biographies by Gregory Schaaf. Source: Adobe Gallery. “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

Native American, Burel Naha (b. 1944) Exquisite Pottery Seed Jar, #1121

Native American, Burel Naha (b. 1944) Exquisite Pottery Seed Jar, #1121 Discriiption: #1121 Native American, Burel Naha (b. 1944) Exquisite Pottery Seed Jar, of spherical form and painted with two large, hairy legged spiders; a spider web is ghosted in the background; hallmarked on base; Dimensions: height 4 in. x diameter 4.25 in. Condition: Excellent. Burel Naha is the son of Helen Naha (Feather Woman) and grandson of Paqua Naha (Frog Woman) and brother of Rainy Naha and Sylvia Naha. Burel and his sisters continued the tradition of their famous mother in producing pottery of the finest quality and with superb design creations. He signs his pottery with a Feather and Longhair Katsina Hallmark. Burel specializes in traditional Hopi pottery but has created his own unique style. He enjoys painting spiders with intricate web designs all around his pottery. The earlier designs that he used were of the style of his mother's. Burel received his BA at Brigham Young University. He was a teacher for many years and now has dedicated his life to the traditional ways of his Hopi ancestors. Burel credits his success to his mother for teaching him the traditional ways of their ancestors. He has received awards from the New Mexico State Fair and the Gallup Inter-tribal Indian Ceremonial. -Biography from Artists in Clay: The Winona Sate University Collection of Southwest Native American Pottery (Source: Adobe Gallery) “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 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), Native American, Burel Naha (b. 1944) Exquisite Pottery Seed Jar, #1121, Discriiption: #1121 Native American, Burel Naha (b. 1944) Exquisite Pottery Seed Jar, of spherical form and painted with two large, hairy legged spiders; a spider web is ghosted in the background; hallmarked on base;, Dimensions: height 4 in. x diameter 4.25 in. Condition: Excellent. Burel Naha is the son of Helen Naha (Feather Woman) and grandson of Paqua Naha (Frog Woman) and brother of Rainy Naha and Sylvia Naha. Burel and his sisters continued the tradition of their famous mother in producing pottery of the finest quality and with superb design creations. He signs his pottery with a Feather and Longhair Katsina Hallmark. Burel specializes in traditional Hopi pottery but has created his own unique style. He enjoys painting spiders with intricate web designs all around his pottery. The earlier designs that he used were of the style of his mother's. Burel received his BA at Brigham Young University. He was a teacher for many years and now has dedicated his life to the traditional ways of his Hopi ancestors. Burel credits his success to his mother for teaching him the traditional ways of their ancestors. He has received awards from the New Mexico State Fair and the Gallup Inter-tribal Indian Ceremonial. -Biography from Artists in Clay: The Winona Sate University Collection of Southwest Native American Pottery (Source: Adobe Gallery), “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 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

Two studio pottery pieces including a pitcher by Perri and lidded

Two studio pottery pieces including a pitcher by Perri and lidded jar with handle. Jug impressed 'Perri' at rim of base. 9"H (largest) Estimate $100-200 PLEASE READ: All items in this sale are estate consigned. There will be no returns accepted for reasons of condition or undisclosed repair. Every effort has been made to disclose condition in images provided. You may request a condition report, but this does not imply warranty for condition or allow returns for buyer's remorse. If you do not agree to these terms, do not bid. Your bid is a contract and signifies your acceptance of these terms. Professional shipping services are available. Shipping costs will include packaging, handling, and insurance. Shipping costs are in addition to the auction purchase amount. A low bid purchase price does not mean shipping costs will be any less. If you are not prepared to pay for third-party shipping, do not bid. In order to ensure a quality experience with professional service, Ripley Auctions will now be managing jewelry and some small item shipping in-house. Larger items will require an outside shipper. Our preferred third party shipper is Pakmail and quotes can be requested directly from them. Our Pakmail contact is Joel Herendeen and he can be reached by email at us740@pakmail.org, or by phone at 317-823-8383. Successful bidders will receive a final invoice within two business days after the auction giving you payment and shipping details, if applicable, pertaining to the item(s) you have purchased. After payment is made your purchase will be shipped by either USPS, UPS, or FedEx. Tracking will be sent by email. Tracking information will need to be obtained by the third party shipper for larger items purchased. Payment is accepted by Paypal, all major credit cards, cash, check, and bank wire. There is a buyer's premium in this sale. Credit card payments may require the same shipping and billing address for fine jewelry. Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to note obvious imperfections in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition. All sales are final.閱讀更多

Three American studio pottery glazed stoneware teapots.

Three American studio pottery glazed stoneware teapots. The salt-glazed teapot with cane and twig handle; one on stand; all illegibly signed. Very good condition with no chips, cracks, or repairs. 6 1/2"H x 12"W (largest) Estimate $150-200 PLEASE READ: All items in this sale are estate consigned. There will be no returns accepted for reasons of condition or undisclosed repair. Every effort has been made to disclose condition in images provided. You may request a condition report, but this does not imply warranty for condition or allow returns for buyer's remorse. If you do not agree to these terms, do not bid. Your bid is a contract and signifies your acceptance of these terms. Professional shipping services are available. Shipping costs will include packaging, handling, and insurance. Shipping costs are in addition to the auction purchase amount. A low bid purchase price does not mean shipping costs will be any less. If you are not prepared to pay for third-party shipping, do not bid. In order to ensure a quality experience with professional service, Ripley Auctions will now be managing jewelry and some small item shipping in-house. Larger items will require an outside shipper. Our preferred third party shipper is Pakmail and quotes can be requested directly from them. Our Pakmail contact is Joel Herendeen and he can be reached by email at us740@pakmail.org, or by phone at 317-823-8383. Successful bidders will receive a final invoice within two business days after the auction giving you payment and shipping details, if applicable, pertaining to the item(s) you have purchased. After payment is made your purchase will be shipped by either USPS, UPS, or FedEx. Tracking will be sent by email. Tracking information will need to be obtained by the third party shipper for larger items purchased. Payment is accepted by Paypal, all major credit cards, cash, check, and bank wire. There is a buyer's premium in this sale. Credit card payments may require the same shipping and billing address for fine jewelry. Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to note obvious imperfections in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition. All sales are final.閱讀更多

Native American Rare Acoma Double Spouted Poly Chrome Pottery Jar, #917

Native American Rare Acoma Double Spouted Poly Chrome Pottery Jar 917. Description: Native American, mid 20th century. Rare Acoma (Pueblo) poly chrome pottery jar with two spouts at top with orange banded tops above bulbous body with black and orange decoration on white ground depicting birds, feathers and patterning in tribal manner typical for Acoma pottery. Inscribed on bottom "ACOMA". Condition: No chips to cracks to body or base. Crazing throughout with scattered minor losses to paint layer. One notable tiny imperfection to pottery under the glaze below one spout, a 1/2 long linear impression. Dimensions: Approximate height 7.25", diameter of foot 2.75". Provenance: Property from the Braselton Estate, Lawrence Ville, Georgia. 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 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

Canteen : Native American Zia Polchrome Bird Design Canteen, signed

Canteen 127. Description: 1960's 70s polychrome bird design signed Sofia Medina and dimensions are 6"x 6"x 4.5". Sofia Medina and Lois Medina are a mother and daughter team which with combined efforts produce some of the finest Zia Pueblo pottery around today. Sofia was born in 1932 and Lois was born in 1959. Sofia has been making pottery since 1963. Trinidad Medina, who was a prolific and one of Zia's finest potter‰۪s, taught her all the fundamentals of making traditional Zia pottery and encouraged her to continue the long lived family tradition of hand coiling pottery. Sofia and Lois specialize in making hand coiled Zia pottery just like their ancestors before them. All the materials used on their pottery come from within the Zia Pueblo. The clay is gathered from the grounds within the pueblo. They clean, mix, hand coil, shape, paint, and fire the pottery the traditional way, outdoors. The colors are derived from natural plant life and minerals also found within the Zia Pueblo. They both contribute equally while constructing their pottery. Trinidad encouraged Sofia to teach each and every one of her children the art of hand coiling traditional Zia pottery, so they may be able to contribute to the legacy which is bestowed upon them as well. Sofia & Lois said, Spiritually, making pottery eases your mind, and we sing and pray while making our pottery. They sign their pottery as: Sofia Medina-Lois Medina, Zia. Unfortunately, Sofia passed away recently. They are related to Marcellus Medina and Herman Medina (sons/brothers). Publications: -Southern Pueblo Pottery 2,000 Artist Biographies -Fourteen Families in Pueblo Pottery -Southwestern Pottery Anasazi to Zuni -Talking with the Clay Awards: -Santa Fe Indian Market -New Mexico State Fair -Eighth Northern Arts & Crafts Show Collections: -Albuquerque International Airport -Smithsonian in Washington, D.C.(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 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), Canteen, 127. Description: 1960's 70s polychrome bird design signed Sofia Medina and dimensions are 6"x 6"x 4.5". Sofia Medina and Lois Medina are a mother and daughter team which with combined efforts produce some of the finest Zia Pueblo pottery around today. Sofia was born in 1932 and Lois was born in 1959. Sofia has been making pottery since 1963. Trinidad Medina, who was a prolific and one of Zia's finest potter‰۪s, taught her all the fundamentals of making traditional Zia pottery and encouraged her to continue the long lived family tradition of hand coiling pottery. Sofia and Lois specialize in making hand coiled Zia pottery just like their ancestors before them. All the materials used on their pottery come from within the Zia Pueblo. The clay is gathered from the grounds within the pueblo. They clean, mix, hand coil, shape, paint, and fire the pottery the traditional way, outdoors. The colors are derived from natural plant life and minerals also found within the Zia Pueblo. They both contribute equally while constructing their pottery. Trinidad encouraged Sofia to teach each and every one of her children the art of hand coiling traditional Zia pottery, so they may be able to contribute to the legacy which is bestowed upon them as well. Sofia & Lois said, Spiritually, making pottery eases your mind, and we sing and pray while making our pottery. They sign their pottery as: Sofia Medina-Lois Medina, Zia. Unfortunately, Sofia passed away recently. They are related to Marcellus Medina and Herman Medina (sons/brothers). Publications: -Southern Pueblo Pottery 2,000 Artist Biographies -Fourteen Families in Pueblo Pottery -Southwestern Pottery Anasazi to Zuni -Talking with the Clay Awards: -Santa Fe Indian Market -New Mexico State Fair -Eighth Northern Arts & Crafts Show Collections: -Albuquerque International Airport -Smithsonian in Washington, D.C.(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 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

Paar blanc de Chine-Löwen mit Räucherstäbchenhalter

Schätzpreis: 180 - 250 CHF Paar blanc de Chine-Löwen mit Räucherstäbchenhalter China, Porzellan, H 13,5 cm. Auf einem rechteckigen Podest sitzende buddhistische Löwen mit zur Seite gewandtem Kopf und einem Weihrauchstäbchenhalter am Rücken, unter der Vorderpfote je ein Ball, Haarsträhnen und Halsschmuck sind appliziert. Kleine Beschädigungen. Provenienz: - Schweizer Privatbesitz ; Asiatika; CHINESISCHE KUNST; Porzellan閱讀更多

A SUITE OF THREE DERBY PORCELAIN CAMPAGNA SHAPED VASES

A SUITE OF THREE DERBY PORCELAIN CAMPAGNA SHAPED VASES, c. 1815, painted to the exterior with a still life of summer flowers, within a rectangular reserve, against a gilt and white ground with entwined side handles, factory mark to base and numbered 28, the largest 20cm high閱讀更多

Arne Bang, Ceramic figure

Dark brown ceramic figure, laying deer, no.: 161 by Arne Bang and manufactured at Copenhagens Stoneware Factory in 1929. H - 18 cm, W - 26 cm and D - 18 cm.閱讀更多

Two Ed Diers for Rookwood Pottery Vellum Vases

Two Ed Diers for Rookwood Pottery Vellum Vases, Cincinnati, Ohio, 1915 and 1921, marked on base with Rookwood logo, date, shape, and artist's initials, respective ht. 9 1/8, 8 in. Estimate $1,000-1,500 No visible damage or repairs. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.閱讀更多

Speise- Tee-und Moccaservice

Porzellan, 61 Stück: 12 Speiseteller Dm. 24,5 cm, 6 Suppenteller Dm. 24,5 cm, 6 Dessertteller Dm. 18,5 cm, 1 Suppenterrine mit Deckel Höhe 21 cm, Dm. 30 cm, 1 runde Schüssel Höhe 6,5 cm, Dm. 27 cm, 2 runde Platten Dm. 29, 31 cm, 1 quadratische Schale Dm. 23 cm, 2 rechteckige Platten Länge 36,5, 39 cm, 1 Salz- Pfefferschale Höhe 3,7 cm, Dm. 9 cm, 1 Teekanne mit Deckel Höhe 17,5 m, 1 Zuckerdose mit Deckel Höhe 12,5 cm, 1 Gießer Höhe 9,5 cm,5 Teetassen mit 6 Untertassen Dm. 14,5 cm, 1 Moccakanne mit Deckel Höhe 17,5 cm, 1 Zuckerdose mit Deckel Höhe 10 cm, 6 Moccatassen mit 6 Untertassen Dm. 12 cm, Wandungen mit Goldrändern, grün-rot, blau- gelb, rot-grün Kugeldekoren und Gehängen Haas & Czjzek, Schlaggenwald, Böhmen, grüne Marke um 1920, Dekornr. 13569/88 (Ru)閱讀更多

Bing & Grøndahl. Mågestellet med guldkant, service af porcelæn blandet

Bing & Grøndahl. Mågestellet, service af porcelæn bestående af: 18 tallerkner, nr. 28. 1 opsats, H. 10, Ø. 14 cm. 1 Skål, nr. 185. 1 Stjernefad, nr. 217. 1 Kagefad, Ø. 25 cm. 1 Bladfad, nr. 199. 1 Fad, nr. 96. 1 Langt fad, nr. 205. 23 Underkopper, nr. 102. 6 Underkopper, Ø. 15 cm. 4 Underkopper, nr. 108. 1 Opsats, nr. 206. 1 Stort fad, nr. 15. 2 Lysestager, nr. 224. 1 Lille skål, nr. 193. 1 Lille vase, nr. 208. 3 Runde kuvert askebægere, nr. 30. 6 Kuvert æskebægere, nr. 200. 1 Skål, nr. 21. 22 Kaffekopper, nr. 102, 4 Te kopper, 1 Tandstik holder, nr. 183. 1 Flødekande, nr. 95. 1 Sukkerskål med låg, nr. 94. 1 Lilleskål, nr. 232. 1 Lilleskål, nr. 38. 1 Kande, nr. 91. 1 Tekande, nr. 92. 1 Mocca kande. 6 Kopper, nr. 103. 1 Skål og kande fremstår med skår. ca (118)閱讀更多

Bing & Grøndahl. Vase af porcelæn

Bing & Grøndahl vase. Vase af porcelæn dekoreret med blomstrende gren. Mrk. 8810/507. 2. sort. Fremstillet hos Bing & Grøndahl. H. 30 cm.閱讀更多

Native American Historic Zia Pottery Pot #202

Native American Historic Zia Pottery Pot 202. Description: Native American, Historic Zia Pottery Pot, Ca. 1890, slip decorated pottery vessel, features four red birds. [9" H]. Some losses to decorations, flaking, etc. Condition Report: Some losses to decorations, flaking, etc. From the estate of Charles Lamb, NY. A times herald Record on the life and times of Charles Lamb, follows which makes great reading and adds to the story of this terrific piece of history. By BY LEONARD SPARKS Times Herald-Record Published: 9:25 PM - 05/30/14 LIVINGSTON MANOR: Charles Lamb called his need to create "my curse." He spent decades using his Livingston Manor property as a palette for his metal- and wood-crafting skills and a repository for hundreds of antique decorative-art and sculpture pieces he collected in obscurity. But the spotlight Lamb avoided while alive is about to brightly light his life and artwork because of the efforts of Liberty attorney Brian Rourke, who Lamb asked to manage his estate before he died at 87 in January 2013. Appraisers and workers assembled by New York City-based Roland Antiques are busy cataloging Lamb's metal and wood sculptures, his collection of Asian antiquities, sculptures and ceramics, and 12-foot-high castle doors dating from the 17th century. Roland Antiques will ship over 400 pieces to New York for a June 14 auction to benefit Doctors Without Borders, Lamb's designated charity. The auction will also introduce the world to an artist who worked and collected in obscurity. "This is real art," said Bill Roland, who says the collection is difficult to price but could bring between $100,000 and $250,000. "This guy was a genius." A Lamb-sculpted dragon sits outside his property's main house. Along the property's creek is a series of brick arches he built, and the creek's waters spill over the dam he remade by hand, aided by a pulley system used to move stones. Lamb was a Stanford-trained engineer and theater-arts major who fought in World War II, acted in and led the Dobbs Ferry Players. He turned to furniture design, selling to clients that included jazz great Stan Getz. In 1972, he bought the Livingston Manor property. There, the untrained sculptor and artist turned a barn into a studio where he began handcrafting metal figurines and decorative artworks, and wood carvings. "I felt a connection to this gentleman and a desire to make sure that what he labored for, what he built, was not just forgotten after everything was sold," Rourke said. Among the handmade finds in his main house is a cabinet with a motorized door. There is a collection of China-made bowls dating from the 1500's and 1600's and an elephant-shaped Japanese urn from the 1800's. A set of 16th- to 17th-century castle doors with hand-carved panels is fitted into one side of the building housing his workshop. The first and second floors of the workshop hold treasures such as a full-size knight figurine and a chess set whose figures take medieval legends as a model. "Each piece is modeled individually," said Cynthia Pappas, an art expert working with Roland. Roland estimates that he will auction about 500 pieces in total, including about 200 of Lamb's original pieces. He expects to attract attention from dealers near his Greenwich Village gallery and through newspaper advertisements, and plans to send an email blast to about 200,000 names on an auctioneer's list. "I think when the world sees this, they're going to go crazy," Roland said. 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), Native American, Historic Zia Pottery Pot, 202. Description: Native American, Historic Zia Pottery Pot, Ca. 1890, slip decorated pottery vessel, features four red birds. [9" H]. Some losses to decorations, flaking, etc. Condition Report: Some losses to decorations, flaking, etc. From the estate of Charles Lamb, NY. A times herald Record on the life and times of Charles Lamb, follows which makes great reading and adds to the story of this terrific piece of history. By BY LEONARD SPARKS Times Herald-Record Published: 9:25 PM - 05/30/14, LIVINGSTON MANOR: Charles Lamb called his need to create "my curse." He spent decades using his Livingston Manor property as a palette for his metal- and wood-crafting skills and a repository for hundreds of antique decorative-art and sculpture pieces he collected in obscurity. But the spotlight Lamb avoided while alive is about to brightly light his life and artwork because of the efforts of Liberty attorney Brian Rourke, who Lamb asked to manage his estate before he died at 87 in January 2013. Appraisers and workers assembled by New York City-based Roland Antiques are busy cataloging Lamb's metal and wood sculptures, his collection of Asian antiquities, sculptures and ceramics, and 12-foot-high castle doors dating from the 17th century. Roland Antiques will ship over 400 pieces to New York for a June 14 auction to benefit Doctors Without Borders, Lamb's designated charity. The auction will also introduce the world to an artist who worked and collected in obscurity. "This is real art," said Bill Roland, who says the collection is difficult to price but could bring between $100,000 and $250,000. "This guy was a genius.", A Lamb-sculpted dragon sits outside his property's main house. Along the property's creek is a series of brick arches he built, and the creek's waters spill over the dam he remade by hand, aided by a pulley system used to move stones. Lamb was a Stanford-trained engineer and theater-arts major who fought in World War II, acted in and led the Dobbs Ferry Players. He turned to furniture design, selling to clients that included jazz great Stan Getz. In 1972, he bought the Livingston Manor property. There, the untrained sculptor and artist turned a barn into a studio where he began handcrafting metal figurines and decorative artworks, and wood carvings. "I felt a connection to this gentleman and a desire to make sure that what he labored for, what he built, was not just forgotten after everything was sold," Rourke said. Among the handmade finds in his main house is a cabinet with a motorized door. There is a collection of China-made bowls dating from the 1500's and 1600's and an elephant-shaped Japanese urn from the 1800's. A set of 16th- to 17th-century castle doors with hand-carved panels is fitted into one side of the building housing his workshop. The first and second floors of the workshop hold treasures such as a full-size knight figurine and a chess set whose figures take medieval legends as a model. "Each piece is modeled individually," said Cynthia Pappas, an art expert working with Roland. Roland estimates that he will auction about 500 pieces in total, including about 200 of Lamb's original pieces. He expects to attract attention from dealers near his Greenwich Village gallery and through newspaper advertisements, and plans to send an email blast to about 200,000 names on an auctioneer's list. "I think when the world sees this, they're going to go crazy," Roland said. , 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

Royal Copenhagen, Musselmalet: Et par Dalar heste (2)

Nr. 570, I. sort. H. 17,5 cm.閱讀更多

Ban Chiang (Ban Srabohe?) Pottery Pot from Chiang, Mai Thailand #465

Thailand Pottery 465. Exquisite Thin Walled Ban Chiang (Ban Srabohe?) Pottery Pot from Chiang Mai, Thailand. The piece is approximately 8" x 10 " and is one of the thinnest walled pots that I have ever encountered in my life time of collecting. In very good condition, no crack or chips. Ban Chiang is an archaeological site located in Nong Han district, Udon Thani Province, Thailand. It has been on the UNESCO world heritage list since 1992. Discovered in 1966, the site attracted enormous publicity due to its attractive red painted pottery. Villagers had uncovered some of the pottery in prior years without insight into its age or historical importance. In August 1966 Steve Young, an anthropology and government student at Harvard College, was living in the village conducting interviews for his senior honors thesis. Young, a speaker of Thai, was familiar with the work of William Solheim and his theory of possible ancient origins of civilization in Southeast Asia. One day while walking down a path in Ban Chiang with his assistant, an art teacher in the village school, Young tripped over a root of a Kapok tree and fell on his face in the dirt path. Under him were the exposed tops of pottery jars of small and medium sizes. Young recognized that the firing techniques used to make the pots were very rudimentary but that the designs applied to the surface of the vessels were unique and wonderful. He took samples of pots to Princess Phanthip Chumbote who had the private museum of Suan Pakkad in Bangkok and to Chin Yu Di of the Thai Government's Fine Arts Department[1], Thailand Pottery, 465. Exquisite Thin Walled Ban Chiang (Ban Srabohe?) Pottery Pot from Chiang Mai, Thailand. The piece is approximately 8" x 10 " and is one of the thinnest walled pots that I have ever encountered in my life time of collecting. In very good condition, no crack or chips. Ban Chiang is an archaeological site located in Nong Han district, Udon Thani Province, Thailand. It has been on the UNESCO world heritage list since 1992. Discovered in 1966, the site attracted enormous publicity due to its attractive red painted pottery. Villagers had uncovered some of the pottery in prior years without insight into its age or historical importance. In August 1966 Steve Young, an anthropology and government student at Harvard College, was living in the village conducting interviews for his senior honors thesis. Young, a speaker of Thai, was familiar with the work of William Solheim and his theory of possible ancient origins of civilization in Southeast Asia. One day while walking down a path in Ban Chiang with his assistant, an art teacher in the village school, Young tripped over a root of a Kapok tree and fell on his face in the dirt path. Under him were the exposed tops of pottery jars of small and medium sizes. Young recognized that the firing techniques used to make the pots were very rudimentary but that the designs applied to the surface of the vessels were unique and wonderful. He took samples of pots to Princess Phanthip Chumbote who had the private museum of Suan Pakkad in Bangkok and to Chin Yu Di of the Thai Government's Fine Arts Department[1]閱讀更多

Hampshire Pottery Dog Dish

Hampshire Pottery Dog Dish, Keene, New Hampshire, early 20th century, green crazed glaze with applied "FOR MY DOG.," with impressed maker's mark and "Eric C. Rich 434 5th Avenue New York" on bottom, ht. 2 7/8, opening dia. 4 3/4 in. Estimate $200-300 Hairline crack with some minor galze loss through the "O" in DOG. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.閱讀更多

Unknown

Unknown (American, 20th/21st century) large studio pottery vase slab-built glazed stoneware unsigned. 9 3/4"H x 11 3/4"W. Estimate $200-400 PLEASE READ: All items in this sale are estate consigned. There will be no returns accepted for reasons of condition or undisclosed repair. Every effort has been made to disclose condition in images provided. You may request a condition report, but this does not imply warranty for condition or allow returns for buyer's remorse. If you do not agree to these terms, do not bid. Your bid is a contract and signifies your acceptance of these terms. Professional shipping services are available. Shipping costs will include packaging, handling, and insurance. Shipping costs are in addition to the auction purchase amount. A low bid purchase price does not mean shipping costs will be any less. If you are not prepared to pay for third-party shipping, do not bid. In order to ensure a quality experience with professional service, Ripley Auctions will now be managing jewelry and some small item shipping in-house. Larger items will require an outside shipper. Our preferred third party shipper is Pakmail and quotes can be requested directly from them. Our Pakmail contact is Joel Herendeen and he can be reached by email at us740@pakmail.org, or by phone at 317-823-8383. Successful bidders will receive a final invoice within two business days after the auction giving you payment and shipping details, if applicable, pertaining to the item(s) you have purchased. After payment is made your purchase will be shipped by either USPS, UPS, or FedEx. Tracking will be sent by email. Tracking information will need to be obtained by the third party shipper for larger items purchased. Payment is accepted by Paypal, all major credit cards, cash, check, and bank wire. There is a buyer's premium in this sale. Credit card payments may require the same shipping and billing address for fine jewelry. Any condition statement is given as a courtesy to the client. We are offering our professional opinion. We attempt to note obvious imperfections in the description. However, the absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Antique Helper, Inc., et al shall have no responsibility for any error or omission regarding an item's condition. All sales are final.閱讀更多

Royal Copenhagen, Vase with silvermount

Royal Copenhagen vase with silvermount. Royal Copenhagen porcelain vase. Silvermount by A. Michelsen. Hallmarks for silver and dated 1905. Height: 18,5 cm閱讀更多

"Cartier" Speise-Kaffee- und Moccaservice

Porzellan, 97 Stück: 8 Platzteller Dm. 29,5 m, 8 Speiseteller Dm. 27,5 cm, 8 Suppenteller Dm. 21 cm, 8 Bouillontassen mit 8 Untertassen Dm. 16 cm, 8 Vorspeisenteller Dm. 21 cm, 8 Brotteller Dm. 15,5 cm, 1 Suppenschüssel Höhe 12,5 cm, Dm. 24,5 cm, 1 Sauciere mit fixer Untertasse Höhe 10 cm, Länge 23 cm, 1 ovale Schale Höhe 6 cm, Länge 23,5 cm, 1 ovale Platte Länge 36,5 cm, 2 Kerzenhalter Höhe 8 cm, 1 Kaffeekanne mit Deckel 19 cm, 1 Zuckerdose mit Deckel Höhe 11,5 cm. 1 Gießer Höhe 8 cm, 6 Kaffeetassen mit 6 Untertassen Dm. 15 cm, 8 Schüsseln Höhe 5 cm, Dm. 12 cm, 6 Moccatassen mit 6 Untertassen Dm. 11,5 cm, cremefarbige Wandungen mit Goldrändern, Bordüren mit goldenen liegenden Panthern, Dekoren und Blattzweigen auf schwarzem Fond, Spiegel mit gleichem Dekor, goldgehöhte Henkeln und Knauf, Cartier, Frankreich, Jahreszahl 1986, Dekor "LA MAISON DE L'ART DÉCO", vorliegendes Service ist sehr erlesen und wurde nur 3x produziert (Ru)閱讀更多

Hopi Polychrome bowl, #663

663. Native American Hopi polychrome bowl painted brown on cream geometric and bird design. C. 1970's Condition: Excellent condition for its age and use. Size: 9.25" x 5". Find more pottery from the American Southwest here: http://www.etsy.com/shop/CulturalPatina?section_id=15777760&ref=shopsection_leftnav_1 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), 663. Native American Hopi polychrome bowl painted brown on cream geometric and bird design. C. 1970's, Condition: Excellent condition for its age and use. Size: 9.25" x 5". Find more pottery from the American Southwest here: http://www.etsy.com/shop/CulturalPatina?section_id=15777760&ref=shopsection_leftnav_1 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)閱讀更多

Michael Hawley Poly chrome Pottery Jar #1122

Michael Hawley-Chakoptewa (American, 1948-2012) Substantial/Exceptional Pol ychrome Pottery Jar# 1122 Description: # 1122 Michael Hawley-Chakoptewa (American, 1948-2012) Substantial/Exceptional Poly chrome Pottery Jar, featuring a geometric design adorning the top of the vessel; signed on base. second half 20th century Dimensions: ; height 7.5 in. x diameter 17 in. Condition: Excellent Michael Hawley (1948-2012) Chakoptewa Michael Hawley, Chakoptewa, formerly of Scottsdale, Arizona, was the only contemporary potter creating true Sikyatki Polychrome pottery vessels in the same manner as they were originally made from the 14th through the 17th centuries. Hawley called this pottery "Chakoptewa Polychrome," Chakoptewa being his adopted Hopi name. Hawley used only hand-ground clay dug on Antelope Mesa on the Hopi Reservation and he hand coiled, shaped, polished, painted and coal fired each of the pots in a firing pit he constructed himself. All of his pigments were made by hand from minerals and plants indigenous to the Hopi Mesas and each of his painted designs is original and within the Sikyatki designs tradition. Mike Hawley's pieces are original and unique pieces of contemporary ceramic art inspired by ancient tradition. They are not copies or replicas. We received word from the Hawley family that Michael passed away on April 24, 2012. (Source: Adobe Gallery) You can check out how Michael made his pottery at https://www.youtube.com/watch?v=BhgkP-6SdAg. Michael Hawley-Chakoptewa (American, 1948-2012), Substantial/Exceptional Pol ychrome Pottery Jar# 1122, Description: # 1122 Michael Hawley-Chakoptewa (American, 1948-2012) Substantial/Exceptional Poly chrome Pottery Jar, featuring a geometric design adorning the top of the vessel; signed on base. second half 20th century, Dimensions: ; height 7.5 in. x diameter 17 in. Condition: Excellent, Michael Hawley (1948-2012) Chakoptewa, Michael Hawley, Chakoptewa, formerly of Scottsdale, Arizona, was the only contemporary potter creating true Sikyatki Polychrome pottery vessels in the same manner as they were originally made from the 14th through the 17th centuries. Hawley called this pottery "Chakoptewa Polychrome," Chakoptewa being his adopted Hopi name. Hawley used only hand-ground clay dug on Antelope Mesa on the Hopi Reservation and he hand coiled, shaped, polished, painted and coal fired each of the pots in a firing pit he constructed himself. All of his pigments were made by hand from minerals and plants indigenous to the Hopi Mesas and each of his painted designs is original and within the Sikyatki designs tradition. Mike Hawley's pieces are original and unique pieces of contemporary ceramic art inspired by ancient tradition. They are not copies or replicas. We received word from the Hawley family that Michael passed away on April 24, 2012. (Source: Adobe Gallery), You can check out how Michael made his pottery at https://www.youtube.com/watch?v=BhgkP-6SdAg閱讀更多

Russisches Porzellan-Ei mit Engelskopf

vorderseitig farbig gemalter Cherub auf chamoisfarbigem Fond, rückseitig Goldfond, Höhe 4,5 cm, Goldfond berieben, unterer Öffnungsrand leicht bestoßen, Kaiserliche Porzellan Manufaktur St. Petersburg, ohne Marke um 1790 (Ru)閱讀更多

Royal Copenhagen. Samling 'Frijsenborg' service af porcelæn (36)

Royal Copenhagen. Samling 'Frijsenborg' service af porcelæn bestående af: 12 middagstallerkner, 12 frokosttallerkner, sauceskål, seks diverse skåle, 2 fade, 2 underkopper, 2 desserttallerkner. (36)閱讀更多

"Der Geschmack"

Dame sitzt an Tisch gelehnt und isst Keks, auf dem Tisch stehen Flasche und Weinpokal, Teller mit Früchten und verschiedene Kekse, Sockel mit Goldrändern und Goldbordüre, Porzellan, farbig und gold staffiert, Höhe 14,5 cm, Länge 10 cm Meißen, unterglasurblaue Schwertermarke um 1970, Modell E 2, Formernr. 29, Modell von Johann Carl Schönheit 1772, aus der Serie "Die fünf Sinne"(Ru)閱讀更多

ROYAL DOULTON BONE CHINA FIGURINES PCS COBBLER MENDICANT

ROYAL DOULTON BONE CHINA FIGURINES, 2 PCS, H 8 3/4", W 5 1/2", D 3 1/2" "COBBLER" & "MENDICANT"閱讀更多

IRISH BELLEEK PLY LATTICE WORK PORCELAIN BASKET SIGNED 4

IRISH BELLEEK, 4-PLY, LATTICE WORK, PORCELAIN BASKET, SIGNED, H 2 1/4, W 6 1/4", L 6 1/4"閱讀更多

Tasse mit "fleurs én terrasse" und Untertasse mit Blumenfries

Porzellan, ausgestellte Wandung mit godronniertem Fuß, innen Goldrand, gold gemaltem Blattfries mit Ovalen auf weißem Fond, Innenvergoldung mit weißen Spiegel, außen feine glanzgoldene, weiße und mattgoldene Ränder, umlaufend bunt gemalte Blumen auf mattgoldenem Fond, hochgezogener Goldhenkel mit Rosetten und Blattende, Untertasse mit Blumenfries auf mattgoldenem Fond, glanzgoldener Spiegel mit Goldrosette auf weißem Fond, Höhe 11 cm, Dm. 16 cm, Wien, kaiserliche Manufaktur, unterglasurblauer Bindenschild, Jahreszahl 1816, Weissdrehernr. 36 Anton Landskron 1807-1818 (Ru)閱讀更多

Middags- og kaffeservise

Middags- og kaffeservise Kina. Dao Guang stil. 1900- tallets andre halvdel.閱讀更多

A Royal Crown Derby paperweight, Bakewell Duck, with box and no certificate

A Royal Crown Derby paperweight, Bakewell Duck, with box and no certificate Condition Report: Categories: Ceramics, Lot Description:, Condition Report:, Condition Report:, Categories:, Ceramics閱讀更多

Hopi Pottery Jar : Native American Hopi Pottery Jar by Claudina Lomakema #74

Hopi Pottery Jar 74. Description: Ca. 1980's, Original design poly'chrome jar with black rim and stylized frog and avian forms. Good condition, some scratches/abrasions. 3-3/4" x 6". Claudina is Hopi, Sichomovi, and was active from 1970-1982, in black and red on yellow jars. Her work is at the Museum of northern Arizona and she has been published in Allen 1984: 1921: Gault 1991:15 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, Hopi Pottery Jar, 74. Description: Ca. 1980's, Original design poly'chrome jar with black rim and stylized frog and avian forms. Good condition, some scratches/abrasions. 3-3/4" x 6". Claudina is Hopi, Sichomovi, and was active from 1970-1982, in black and red on yellow jars. Her work is at the Museum of northern Arizona and she has been published in Allen 1984: 1921: Gault 1991:15, 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

Staffordshire Blue Transfer Platter

English pottery platter, first half 19th Century, Italian Scenes: Castle of Lavenza. 15" x 11.5". Gentle use, with scattered knife marks to field, and a few light scratches. Edges good, age staining to back, some imperfections in the making. Overall very good to excellent. Keywords: Historical Blue, Antique, British, England, Plates, Porcelain, Stoneware, Ironstone閱讀更多

Set of Fourteen English Hand-painted Porcelain Landscape Plates and

Description: Set of Fourteen English Hand-painted Porcelain Landscape Plates and a Compote. Estimate $20-200 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission. Description:, Set of Fourteen English Hand-painted Porcelain Landscape Plates and a Compote. Estimate $20-200, The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission閱讀更多

Vintage Maricopa Pottery by Phyliss Johnson, 1940's, #1279

Vintage Maricopa Pottery by Phyliss Johnson, 1940's, #1279 Description: #1279 Vintage Maricopa Pottery by Phyliss Johnson, 1940's, Dimensions: 9.5" x 6.0" Condition: Good condition 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

Native American Historic Zuni Polychrome Pottery Storage Jar #320

Native American Historic Zuni Poly chrome Pottery Storage Jar 320. Native american, Historic Zuni Poly chrome Pottery Storage Jar. 8.5" tall, 11" diameter. Poly chrome designs with heart-line deer surrounded by solid and hatched geometric designs. Circa 1890. 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, Historic Zuni Poly chrome Pottery Storage Jar, 320. Native american, Historic, Zuni Poly chrome Pottery Storage Jar, 320. Native american, Historic Zuni Poly chrome Pottery Storage Jar. 8.5" tall, 11" diameter. Poly chrome designs with heart-line deer surrounded by solid and hatched geometric designs. Circa 1890. 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

3pc Santa Clara Carved Blackware Pottery. Includes a

3pc Santa Clara Carved Blackware Pottery. Includes a Frances Salazar bowl 3.5''x5'', an Angela Baca lobed melon pot 3''x4'', and a Clara Stone small dish 1.25''x3.5''. All artist signed on bottom. Excellent condition.閱讀更多