Three Doulton Stoneware Harry Simeon Design Toby Jugs

Description: Three Doulton Stoneware Harry Simeon Design Toby Jugs, ht. to 8 1/4 in. Estimate $300-500 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:, Three Doulton Stoneware Harry Simeon Design Toby Jugs, Estimate $300-500, 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

Set Of 10 Vintage Multicolored Ceramic Tea Set

Set Of 10 Vintage Multicolored Ceramic Tea Set. One teapot, 6 cups and 3 saucers. Set has triangular shaped handles and lined detailing around the center of each piece. Three saucers are missing and small chip to spout of teapot. Teapot measures approx 10 inches wide x 6.5 inches high.閱讀更多

Atq. Native Handmade Pottery Vase

Atq. Native Handmade Pottery Vase.閱讀更多

Erosum White Plate

The smooth surface of this plate is interrupted by irregular ridges, like eroded rocks. Glazed surfaces contrast with the ones in biscuit, or unglazed porcelain, creating a pattern of alternating shiny and matte layers.閱讀更多

Natura Morta 5-Vase Set #3

A stunning addition to a modern or contemporary home, this set of five vases was handcrafted and painted by hand with a matte, pastel-color exterior and a lacquered interior. Honoring the austere elegance of Giorgio Morandi's still life paintings, these pieces boast different shapes and textures that are directly inspired by the master's works. Either on a bookshelf, mantelpiece, or console, this set can be displayed in a myriad of different combinations, either as striking cluster of sculptures or with floral arrangements.閱讀更多

Milano Blu Ceramic Dessert Plate

This small dessert plate in smooth white ceramic is entirely handcrafted by Italian artisan Paravicini. Its decoration, in Milan style, is hand-painted with a blue chinoiserie design and finished with a dark rim. Being hand-painted, each piece is unique in its own right.閱讀更多

Moor Woman Head with Striped Turban Vase

Rich in artistic and historical significance, this graceful anthropomorphic vase is an iconic homage to Sicily's rich Moorish influence. Fashioned entirely by hand by Giacomo Alessi, this vase is characterized by a simple four-color scheme: black for the Moor's rich complexion, orange for the eyes, lips, and earrings, and blue-and-green for the gracefully wrapped turban. The vibrant colors are complemented by relief detailing in the eyebrows and hair, creating unique textural contrast.閱讀更多

19th Ce. Meissen Porcelain Figurine Allegory of Architecture

19TH CENTURY, BLUE CROSSED SWORDS MARK, INCISED Model 6 Painter 96 Impress:100 Underglaze Meissen crossed swords mark – 1 Cancellation Mark閱讀更多

Bamboo Vase

This striking vase is designed to evoke the shape of a bamboo cane. The simple rigor of its silhouette is enlivened by the precious material with which it is crafted: Rosso Levanto marble, a precious stone from the Levanto area in Liguria. The striking pattern of the natural veins of the stone add a unique decorative accent that gives dynamism to its minimalist shape.閱讀更多

Vasetti I Vase

Part of a playful collection of small vases that mix precious materials with a modern silhouette, this piece is a miniature version of the large outdoor, architectural vases and is ideal for small cacti and other succulent plants. The traditional color combination of black and white is achieved by mixing white Carrara marble with black Marquina marble. Either alone or displayed with other small vases by the same designer, this charming piece will be an elegant addition to any decor.閱讀更多

Royal Staffordshire Pottery - A.J Wilkinson, Clarice Cliff D...

Royal Staffordshire Pottery - A.J Wilkinson, Clarice Cliff Design Tea Cups, Saucers, Plates and Mug閱讀更多

Blue and White Pitcher

This exquisite ceramic jug was hand made on a lathe and then glazed with a dynamic brush stroke pattern in vivid blue. Due to its hand-crafted nature, reproductions of this piece will be similar but not identical. This pitcher coordinates perfectly with a set of glasses in pure white.閱讀更多

A Royal Doulton Reflections series 'Windswept' HN3027.

A Royal Doulton Reflections series 'Windswept' HN3027.閱讀更多

Au jardin des muses - Antoniucci Volti

Lot # 123 International Art Online auction Antoniucci Volti 1915 - 1989 French Au jardin des muses iron sculpture signed, editioned 3/25 and stamped Monnaie de Paris / Fonte de Fer 19 x 26 1/4 x 1 1/2 in 48.3 x 66.7 x 3.8cm Provenance: Private Collection, Vancouver This work is from the edition Série Plaques de Cheminée n° 33. Please note: this work weighs approximately 150 lbs. Please contact Heffel Vancouver for more information. Estimate: $3,000 ~ $5,000 CAD Final Bid: $2,500 CAD Preview at: Heffel Vancouver Currency converter Close Shipping calculator Bidding History Paddle # Date Amount $ 5242 11/04/2018 3:44:09 PM $2,500 Autobid 11827 10/04/2018 9:49:06 PM $2,250 5242 09/04/2018 9:32:44 AM $2,000 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Lot # 123, Antoniucci Volti, Au jardin des muses, Estimate:, $3,000 ~ $5,000 CAD, $3,000 ~ $5,000 CAD, Final Bid:, Final Bid:, $2,500 CAD, Preview at: Heffel Vancouver, Preview at: Heffel Vancouver Currency converter Close Shipping calculator, Currency converter, Close, Shipping calculator, Bidding History Paddle # Date Amount $ 5242 11/04/2018 3:44:09 PM $2,500 Autobid 11827 10/04/2018 9:49:06 PM $2,250 5242 09/04/2018 9:32:44 AM $2,000 All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Bidding History, Paddle #, Date, Amount $, 5242, 11/04/2018 3:44:09 PM, $2,500, Autobid, 11827, 10/04/2018 9:49:06 PM, $2,250, 09/04/2018 9:32:44 AM, $2,000, All prices are in Canadian Dollars. Although great care has been taken to ensure the accuracy of the information posted, errors and omissions may occur. All bids are subject to our Terms and Conditions of Business. Terms and Conditions of Business閱讀更多

3 Group Lot Lidded Trinket Pill Boxes

tallest has dragon fly image on lid ht app 2.5 inches, marked underside for Home art, one marked Halcyon Days Enamel England, and one blue and white porcelain marked underside Finebone china Crown Staffordshire England閱讀更多

Coolers C Bottle by Pietro Russo

Part of the Coolers collection of fine bottles made in the noblest of stones, this piece preserves the temperature of the content inside in the most natural way and completely avoiding the need for ice. The elegant design of the bottle is crafted using traditional methods in Arabescato marble with inserts in Marquina, whose contrasting color create a timeless black and white combination. Inside, the surface of the piece is in brass-finished glass.閱讀更多

A BORDER FINE ARTS CERAMIC ABERDEEN ANGUS COW A5277 WITH ORI...

A BORDER FINE ARTS CERAMIC ABERDEEN ANGUS COW A5277 WITH ORIGINAL BOX閱讀更多

Edvard Hald for Orrefors Graal Fish Vase

Edvard Hald for Orrefors Graal Fish Vase Sweden, 1957 Internally decorated with green fish and vegetation within colorless glass, maker and artist's mark on base Graal 1222B, ht. 6 1/4 in. Estimate $600-800 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

Natsumi Red Plate #4

Inspired by Vito Nesta's journeys around the world, this elegant plate evokes traditional Japanese prints. The plate boasts a lush Japanese garden in ivory-gold accented with a courtesan wearing an exquisitely detailed blue-cobalt kimono strolling on a bridge. Part of the Natsumi series of porcelain plates in the Grand Tour Collection, this plate can be combined with the others from the same series for an eye-catching setting on any table.閱讀更多

Small Yellow Head Vase

This charming ceramic vase was entirely handmade, as the brushstrokes and unique imperfection of its surface show. Its gentle curves rest on a round base and open to the large round mouth crafted as a woman's head. The bright yellow exterior is adorned with two brown diagonal elements, which resemble a woman's hair parted in the middle, and two vivid red pendants, suggesting earrings. Striking and modern, this piece will enliven the look of any home.閱讀更多

Native American, Maricopa Pottery Bowl, by Evelyn Yarmata, Ca, Mid

Native American, Maricopa Pottery Bowl, by Evelyn Yarmata 1044. Discription: Native American, Maricopa Pottery Bowl, by Evelyn Yarmata. Mid 1900s, Classic gloss finish black-on-red pottey bowl with crude swirl design. Condition: Very good condition. Dimensions: 5-1/2" x 7" 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, Jemez Poly Chrome Pottery Olla, by Phyllis M. Tosa, #1179

Native American, Jemez Poly Chrome Pottery Olla, by Phyllis M. Tosa. Signed on base. Dimensions: Size: 11 x 14 in. Condition: Excellent for its age “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various 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), Native American, Jemez Poly Chrome Pottery Olla, by Phyllis M. Tosa. Signed on base. Dimensions: Size: 11 x 14 in. Condition: Excellent for its age, “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various 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)閱讀更多

Kantro Vase

This unique object is made in ceramic with a matte polished outside paired with a glossy enamel inside. The simple cylindrical shape of its body is highlighted at its top by five vertical semi-elliptical handles that add volume and dynamism to the piece. Timeless and elegant, this vase will make a statement in any room it is placed and will be a bright addition to an entryway, a living room, or a study.閱讀更多

Native American Bowl : Excellent 1950's Hopi Traditional Black on

Native American Bowl 252. Description: From a Southwestern Americana Collection Scottsdale AZ, Estate. A 1950s 1st Mesa Hopi-Tewa Traditional Black on Red Bowl by Ethel Youvella 1919-2006 Polacca, Arizona, measures 8''W x 5.25''H, signed on bottom by artist, abstract and geometric shapes and lines. Overall is in very good condition, but has a small chip out of the lip. Artist Bio: ''Ethel was from the village of Hano at First Mesa. She was a niece of famous Hopi-Tewa potter Grace Chapella. Youvella specialized in making smaller pieces. She also made pottery tiles, cylinder vases and ash trays. She relied on her pottery as a supplemental income, but maintained a traditional life in the Hopi sense. The bold patterns and designs are reminiscent of the Nampeyo era, and pay homage to the woman who has been credited with reviving Pueblo pottery as an art form in the last decade.'' (Source: Desert West Auction) Excellent Condition. 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 Bowl, 252. Description: From a Southwestern Americana Collection Scottsdale AZ, Estate. A 1950s 1st Mesa Hopi-Tewa Traditional Black on Red Bowl by Ethel Youvella 1919-2006 Polacca, Arizona, measures 8''W x 5.25''H, signed on bottom by artist, abstract and geometric shapes and lines. Overall is in very good condition, but has a small chip out of the lip. Artist Bio: ''Ethel was from the village of Hano at First Mesa. She was a niece of famous Hopi-Tewa potter Grace Chapella. Youvella specialized in making smaller pieces. She also made pottery tiles, cylinder vases and ash trays. She relied on her pottery as a supplemental income, but maintained a traditional life in the Hopi sense. The bold patterns and designs are reminiscent of the Nampeyo era, and pay homage to the woman who has been credited with reviving Pueblo pottery as an art form in the last decade.'' (Source: Desert West Auction) Excellent Condition. 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

(2) GLAZED EARTHENWARE OLIVE JARS

(lot of 2) Earthenware olive jars, early to mid 20th c., with looped handles, one with green partial glaze, one with yellow partial glaze, chips and losses, largest: approx 18"h, 11.25"diam; 25lbs total Start Price: $100.00閱讀更多

Set of 6 + 6 Stereotypism Dinner Plates and Large Dinner Plates

This plate set is handcrafted in white ceramic and has a slim ultra flat design. The plates are glazed with majolica with the decal in black and ocher, applied by fire. The set comes complete with 6 first course plates with a matching set of larger second course plates designed by Lucio Bolognesi. They bear this typical all Italian gesture, from 6 different perspectives, accompanied by the letters that make up the word Stereotypism in sequence. This set will add dynamism and freshness to the table.閱讀更多

Small Group of Mineral Specimens

Description: Small Group of Mineral Specimens, including a calcite with chalcopyrite. Estimate $100-200 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:, Small Group of Mineral Specimens, Estimate $100-200, 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

Raku Figure

Artist: Jenik Cook, American (1940 - ) Title: Raku Figure Year: circa 2009 Medium: Ceramic, signed Size: 10 in. (25.4 cm) Price: On Request w-250 Click for Currency Conversion閱讀更多

Helene Aigner Modernist Vase

Vessel / vase by Helene Aigner, signed & dated. Large modernist pottery form. 15″h, 9″dia. 1962 $1,750閱讀更多

Set of 6 Dessert Plates LB07

This elegant set of plates can being a cheerful and bright touch to any table with its rich glazes and sharp pattern. The LB07 coloration features a grid-like pattern in blue, earth tone, and yellow, using a glazing technique inspired by ancient traditions of Neapolitan ceramics. The hand craftsmanship of the plates is achieved by the skill of master craftsmen in Campania, and this set can be paired with other sets in the LB07 coloration in Flat plates and deep plates.閱讀更多

Tria Black Ashtray

This striking ashtray can also be used to collect small items and it is decorated with a striking geometric pattern of parallel and perpendicular white and black lines over a black background.閱讀更多

A mixed selection of studio pottery to include Aylesford jug

A mixed selection of studio pottery to include Aylesford jug閱讀更多

Teruo Hara (1929-1985) Studio Pottery Bottle

Teruo Hara (1929-1985) Studio Pottery Bottle Warrenton, Virginia, second half 20th century Pentagonal red brick clay salt-glazed bottle, marked, ht. 9 in. Provenance: Collection of Malcolm and Marjorie Wright. Estimate $100-150 two base chips, mark a brush marked H. 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

Large Wedgwood Fairyland Lustre Daventry Center Bowl.

Wedgwood Fairyland Lustre footed bowl is decorated in the Daventry pattern with panels of oriental scenes against a flame lustre background. The interior is decorated with a blue oriental bridge leading to a pagoda type building with green, orange and crimson flowers, all highlighted with gilding. The interior of the bowl shades from flame orange to a mottled pink. Signed on the underside with Portland vase mark "Wedgwood Made in England Z5413". Condition: (Very Good - Excellent). Item Dimensions: 5" x 9 -1/2". Condition:, Item Dimensions:閱讀更多

Raku Oval Bowl

A one-of-a-kind piece of functional decor, this stunning bowl is an objet d'art that can be displayed in an entryway, dining room, or living room as unique centerpiece. It was entirely crafted by hand of fireclay using the traditional Japanese Raku technique, with a second firing in the kiln. The oval shape of the piece, with its irregular, flat edges is dynamic and elegant, boasting neutral colors that will suite a modern or contemporary home.閱讀更多

Set of 6 Dessert Plates LB01

These dessert plates are a beautiful addition to any table top with their dynamic bright decorations in the coloration LB01, featuring blues, orange, and black glazes. This glazing technique is inspired by the ancient Neapolitan tradition of ceramics and the plates were hand-crafted by master artisans in Campania. This set also comes with a matching set of 6 deep plates and a set of 6 flat plates.閱讀更多

Raku Large Oval Bowl

This one-of-a-kind bowl was entirely handmade of fireclay and fired twice in the kiln to create its striking gloss and the unique decoration that grace its surface. The generous size of this precious object d'art allows it to double as centerpiece, to display collectibles or food in a living room or dining room. This stunning eye-catching addition to a modern home is also a superb housewarming gift.閱讀更多

Moche Polychrome Pottery Prisoner Vessel

A figural pottery storage vessel depicting a seated bound nude captive, rope around his neck, hands tied behind back. Red-brown pigment on cream ground. Size: 9-3/4 inches H. Rim chip, surface wear. Provenance: Private NYC Drs. collection, acquired over 30 years ago閱讀更多

Native American Vintage Maricopa Pottery Scorpion Vase, by Jaylee

Native American Vintage Maricopa Pottery Scorpion Vase, by Jaylee Miles, Ca, 1900's, #1245 Description: #1255 Native American Vintage Maricopa Pottery Scorpion Vase, by Jaylee Miles, Ca, 1900's, Dimensions: 4” wide X 5” high Condition: Very good for its 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 it's 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 cookware's. Cookware's were made from a different clay source, they were longer fired and had sand temper added for durability. (Source: rarepottery.info)閱讀更多

Three Poole Pottery Items

Description: Three Poole Pottery Items, a vase, and a cup and underplate, ht. to 4 in. Estimate $50-75 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:, Three Poole Pottery Items, Estimate $50-75, 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

A BORDER FINE ARTS CERAMIC GALLOWAY BULL (BELTED) A6746 WITH...

A BORDER FINE ARTS CERAMIC GALLOWAY BULL (BELTED) A6746 WITH ORIGINAL BOX閱讀更多

Meissen Blue Vase

This Is late 19th century Original Meissen porcelain Blue Vase With gold. Measurements : Height: 43.5, Width:33 , Length: 20 Cm閱讀更多

Vintage Pottery Bowl : Excellent Vintage Acoma Pottery Bowl by Rose

Vintage Pottery Bowl Description: Rose Chino Garcia Acoma pottery bowl, inside decorated with fish and deer, bottom signed Rose Chino Garcia, Acoma, New Mexico, 5" high x 12" diameter. Very good condition for its age. Rose Chino and her sisters, Carrie Chino Charlie, Vera Chino Ely and Grace Chino, are daughters of Marie Z. Chino and all of them are exceptional potters, as was their mother. Garcia's pottery is in the collections of the Peabody Museum at Harvard University, Heard Museum in Phoenix, Philbrook Museum of Art in Tulsa, and numerous private collections. She has won awards at Santa Fe Indian Market since 1975 one award was for most creative design. Garcia was an exceptional potter, achieving beautifully thin-walled vessels and well-balanced designs. She passed away on November 10, 2000 at the age of 72. Her daughter, Tena Garcia is carrying on the tradition of this magnificent pottery, which she learned from her month and grandmother, Marie Zieu Chino. 2000. 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), Vintage Pottery Bowl, Description: Rose Chino Garcia Acoma pottery bowl, inside decorated with fish and deer, bottom signed Rose Chino Garcia, Acoma, New Mexico, 5" high x 12" diameter. Very good condition for its age. Rose Chino and her sisters, Carrie Chino Charlie, Vera Chino Ely and Grace Chino, are daughters of Marie Z. Chino and all of them are exceptional potters, as was their mother. Garcia's pottery is in the collections of the Peabody Museum at Harvard University, Heard Museum in Phoenix, Philbrook Museum of Art in Tulsa, and numerous private collections. She has won awards at Santa Fe Indian Market since 1975 one award was for most creative design. Garcia was an exceptional potter, achieving beautifully thin-walled vessels and well-balanced designs. She passed away on November 10, 2000 at the age of 72. Her daughter, Tena Garcia is carrying on the tradition of this magnificent pottery, which she learned from her month and grandmother, Marie Zieu Chino. 2000. 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

Kähler: An earthenware vase

An earthenware vase, decorated in uranium glaze. Signed HAK Danmark. H. 26 cm.閱讀更多

Bike Vase

An exquisite piece of functional decor, this vase will be a striking addition to any home. It was made entirely of ceramics and features an elegant elongated body, resting on a plinth base. It is adorned at the top with a large mouth decorated with a series of semi-circular, horizontal elements. The yellow of the ceramic has a dynamic finish with a crackle glaze that gives it a one-of-a-kind appearance. This piece can be paired with the others from the same Bike collection.閱讀更多

Native American, Maricopa Pottery Vase By T Bread, Ca 1970's, #1027 c

1027 c: Description: Native American, Maricopa Pottery Vase by T. Bread, Ca 1970's Dimensions: 5" x 10" Condition: Excellent Active: T. Bread was active 1980 to 2000, focus was on Effigies, bowls, jars. Styles were Mojave replicas, black-on-red, Ca 1960's-70's. Pottery making relatives were: Aunt - Susie Soke, Daughter: Dorothea Sunn-Avery, Grand-Daughter: Hilda Sunn-Avery Nephew: Kevin Mathew Stevens. 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) References: 1. The Desert Southwest, Four Thousand Years of Life & Art Allan & Carol Hayes, Ten Speed Press, 2006 2. Southwestern Pottery, Anasazi to Zuni Allan Hayes & John Blom, Northland Publishing, 1996, 1027 c: Description: Native American, Maricopa Pottery Vase by T. Bread, Ca 1970's Dimensions: 5" x 10" Condition: Excellent, Active: T. Bread was active 1980 to 2000, focus was on Effigies, bowls, jars. Styles were Mojave replicas, black-on-red, Ca 1960's-70's. Pottery making relatives were:, Aunt - Susie Soke, Daughter: Dorothea Sunn-Avery, Grand-Daughter: Hilda Sunn-Avery, Susie Soke, Dorothea Sunn-Avery, Hilda Sunn-Avery, Nephew: Kevin Mathew Stevens. Kevin Mathew Stevens, 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), References:, 1. The Desert Southwest, Four Thousand Years of Life & Art, Allan & Carol Hayes, Ten Speed Press, 2006, 2. Southwestern Pottery, Anasazi to Zuni, Allan Hayes & John Blom, Northland Publishing, 1996閱讀更多

Nuvola Dinner Plate

This exquisite dinner plate is inspired by a cloud (nuvola in Italian). Its round shape is entirely made in stainless steel and finished with a copper-like color obtained with PDV sprays. What makes this elegant plate truly unique is the central decoration that wrinkles the smooth texture of the piece in the center, recreating the impalpable consistency of the clouds. This sophisticated piece can be used in any décor.閱讀更多

A blue and white pottery Beehive pattern stand, a cheese sta...

A blue and white pottery Beehive pattern stand, a cheese stand, together with pottery plaques and dishes etc閱讀更多

Imari Porcelain Style – Center Piece Bowl With Little ANGELS

Imari Porcelain Style – Center Piece Bowl With Little ANGELS閱讀更多

Teservise

Teservise Russland. Biedermeier. Uten produsentmerking. Hvit glasur med håndmalt blomsterdekor. 1800-tallets siste halvdel.閱讀更多