Antique Ceramics Unsorted

C1900 French T&V Limoges porcelain plaque. Appears to be artist signed<br>Hodkinson. 7.5" x 9.75" plaque in 11 5/8" x 9 1/8" frame. Nice antique over 100<br>year old hand painted plaque. No damage.

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c1900 Equestrian/ scene Adams Jasperware biscuit barrel. 6" tall without bail x 6" wide, no damage, restorations, or stains.tw274

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c1860 Two relief molded jugs pewter mounted. Selling both jugs shown, tallest 9.5" to thumb lift. No damage to ceramics, blue one marked T booth on lid and Cork and Edge on base has some loss to the mounting but the lid is intact and functional unrestored condition.Tw274

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1860's Minton Majolica Game Pie Dish with lid. English Victorian majolica game-pie dish, Minton, c.1862, lid with game animals resting on ferns and leaves molded in relief, base modeled as a woven basket with oak branch handles, impressed mark Minton with date cypher, small area of restoration at tip of mallard's wing, approx 7"h, 13.25"l, 8"w, 6.25lbs. No damage or restorations other than the tip of the wing shown and described.isshelf

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Early Celadon bowl. 5 1/8" wide x 1 5/8" deep, good early piece likely Chinese<br>from a collection put together in the third quarter of the 20th century<br>traveling through and working in Asia. Glaze inconsistencies and crazing that<br>may not be intentional but are very attractive. A few tiny chips to footrim<br>mostly glazed over.

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Franz Kriwanek (American, 1920-1994) Mid Century Modern Texas Studio Pottery<br>large vase. 9.75" tall x 7" with with no damage or restorations. Fresh from a<br>local Austin TX estate, most likely made when he was teaching in TX before<br>moving to Silverton.<br><br>Franz Kriwanek (American, 1920-1994). artist, potter, professor and author<br>renown for blending clays and glazes from soils and minerals of the San Juan<br>Mountains near Silverton Colorado. Pottery made from these mixtures is very<br>durable with a distinctive allure. When Germany conquered Czechoslovakia,<br>Kriwanek was forcibly drafted into the German Army. He was then sent to North<br>Africa desert, but one morning when he and the other forced draftees awoke, they<br>were alone. Kriwanek was sent to the Prisoner of War Camp in Clarinda, where he,<br>an artist by trade, began painting again, specifically illustrations of the<br>camp. Once the war was over, he was released and returned to Europe, where he<br>lived in the Netherlands for four years. In fact, Winegardner said a family in<br>Shenandoah sent Kriwanek to the University of Iowa where he could obtain his<br>teaching degree. He then taught in Shenandoah for one year, followed by Mount<br>Pleasant, Iowa.<br><br>In 1948, Franz Kriwanek settled in Sweden to study Sino-Swedish stoneware under<br>the masters Wilhelm Koge and Stig Lindberg. While in Sweden he had 7 one man<br>exhibits.In 1963, He arrived in Texas, taking a position on the art faculty at<br>Texas Tech University. For months after he arrived in West Texas, he sought a<br>clay suitable to stand 2,400 degrees. He found it in a quarry in Snyder, Texas.<br>He believed in using local materials and developed a series of glazes which have<br>cotton gin ashes as they main component. These glazes follow the same traditions<br>of Chinese ash glazes.<br><br>“Franz Kriwanek was born on May 1, 1920 in Worschach, Austria.<br>Winegardner said when Germany conquered Czechoslovakia, Kriwanek was forcibly<br>drafted into the German Army. He was then sent to North Africa desert, but one<br>morning when he and the other forced draftees awoke, they were alone.<br>“The Germans were gone. They had left them in the desert,” said Winegardner.<br>“The first thing they did was surrender.”<br>Kriwanek was sent to the Prisoner of War Camp in Clarinda, where he, an artist<br>by trade, began painting again, specifically illustrations of the camp. Once the<br>war was over, he was released and returned to Europe, where he lived in the<br>Netherlands for four years.<br>“Someone he knew in Clarinda sponsored him and his family to move back to<br>Clarinda,” Winegardner said. “He then moved to Shenandoah and started Kriwanek<br>Pottery and Art School. He was really promoted and supported by people in<br>Shenandoah.”<br>In fact, Winegardner said a family in Shenandoah sent Kriwanek to the University<br>of Iowa where he could obtain his teaching degree. He then taught in Shenandoah<br>for one year, followed by Mount Pleasant, Iowa.<br>“He ended his teaching career as chair of ceramics at the University of Texas at<br>Lubbock,” said Winegardner. “He ended up in Silverton, Colorado with Silverton<br>Mountain Pottery. He passed away in 1994, but his pieces have recently become<br>overly popular.”

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Antique Hand painted Minton luncheon plate. Great plate from the last half of the 19th century, impressed Minton mark with some numbers/letters for date code I assume that I unfortunately don't have time to check out. No chips or cracks, some utensil marks and surface wear. 9 1/16" wide.isshelf

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Franz Kriwanek (American, 1920-1994) 1965 Mid Century Modern Texas Studio<br>Pottery Framed Plaque 9.25" x 16" total 13.25" x 7" plaque, absolutely no damage<br>or wear.<br><br>Franz Kriwanek (American, 1920-1994) artist, potter, professor and author renown<br>for blending clays and glazes from soils and minerals of the San Juan Mountains<br>near Silverton Colorado. Pottery made from these mixtures is very durable with a<br>distinctive allure. When Germany conquered Czechoslovakia, Kriwanek was forcibly<br>drafted into the German Army. He was then sent to North Africa desert, but one<br>morning when he and the other forced draftees awoke, they were alone. Kriwanek<br>was sent to the Prisoner of War Camp in Clarinda, where he, an artist by trade,<br>began painting again, specifically illustrations of the camp. Once the war was<br>over, he was released and returned to Europe, where he lived in the Netherlands<br>for four years. In fact, Winegardner said a family in Shenandoah sent Kriwanek<br>to the University of Iowa where he could obtain his teaching degree. He then<br>taught in Shenandoah for one year, followed by Mount Pleasant, Iowa.<br><br>In 1948, Franz Kriwanek settled in Sweden to study Sino-Swedish stoneware under<br>the masters Wilhelm Koge and Stig Lindberg. While in Sweden he had 7 one man<br>exhibits.In 1963, He arrived in Texas, taking a position on the art faculty at<br>Texas Tech University. For months after he arrived in West Texas, he sought a<br>clay suitable to stand 2,400 degrees. He found it in a quarry in Snyder, Texas.<br>He believed in using local materials and developed a series of glazes which have<br>cotton gin ashes as they main component. These glazes follow the same traditions<br>of Chinese ash glazes.<br><br>“Franz Kriwanek was born on May 1, 1920 in Worschach, Austria.<br>Winegardner said when Germany conquered Czechoslovakia, Kriwanek was forcibly<br>drafted into the German Army. He was then sent to North Africa desert, but one<br>morning when he and the other forced draftees awoke, they were alone.<br>“The Germans were gone. They had left them in the desert,” said Winegardner.<br>“The first thing they did was surrender.”<br>Kriwanek was sent to the Prisoner of War Camp in Clarinda, where he, an artist<br>by trade, began painting again, specifically illustrations of the camp. Once the<br>war was over, he was released and returned to Europe, where he lived in the<br>Netherlands for four years.<br>“Someone he knew in Clarinda sponsored him and his family to move back to<br>Clarinda,” Winegardner said. “He then moved to Shenandoah and started Kriwanek<br>Pottery and Art School. He was really promoted and supported by people in<br>Shenandoah.”<br>In fact, Winegardner said a family in Shenandoah sent Kriwanek to the University<br>of Iowa where he could obtain his teaching degree. He then taught in Shenandoah<br>for one year, followed by Mount Pleasant, Iowa.<br>“He ended his teaching career as chair of ceramics at the University of Texas at<br>Lubbock,” said Winegardner. “He ended up in Silverton, Colorado with Silverton<br>Mountain Pottery. He passed away in 1994, but his pieces have recently become<br>overly popular.”

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1920's Noritake Art Deco heavily gilt oval bowl. Very amazing piece in near mint condition with no damage or detectable wear. Marked as shown, likely decorated by Pickard or one of the other Chicago decoration studios of the first half of the 20th century.. 10.25" x 7" x 2.5" deep.tw270

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c1870 Early Hand Painted Cauldron T.C. Brown Westhead and Moore cabinet plate. Unmarked. No damage or restorations, fine overall crazing. 9 3/16" wide, no detectable markings.isshelf

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Antique Royal Doulton Stoneware miniatures. Selling the three pieces from the first quarter of the 20th century with no damage. Loving cup is unmarked but has been attributed to Doulton by reliable sources, it's 7/8" tall, mug and creamer are 1 9/16" tall. Selling all three pieces.kitshelf

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Antique Crown Staffordshire Miniature Heavy gold/cobalt/hand painted Mug, saucer, and vase. All three pieces from the first quarter of the 20th century, possibly late 19th century. No cracks, chips, or restorations. Vase is 2 7/8" tall, mug is 1 3/16" tall, saucer is 2" wide.isshelf

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c1830-40 British Hand painted heavily gilt compote. Very amazing and wonderfulfrom the first half of the 19th century, unmarked, British. I spent not one second trying to identify the maker as there just is no extra time. Knowing that it's Ridgway, Spode, etc won't make it any nicer. My theory is the ones that care know already. 10.25" wide x 6.5" tall. No cracks, chips, or restorations.

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c1840 Orientalist Transferware Arabic/Asian Scenes collection Siam, Asiatic Views, Palestine, and one more unmarked. All with no cracks, chips, restorations, or significant wear. 8" plates, 9" pickle/relish dish. Selling the lot shown.

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Antique Delft Tiles in wood frames. Selling the 4 16th/17th century Dutch delfttiles possibly cut to fit in these oval frames in the late 18th to early 19th century. Frames 5.75" x 7" some glaze loss and scratches to tiles, cracks in wood frames. Selling the 4 shown with /military scenes.

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1934 Chicago Worlds fair heavy gold/platinum decorated sugar bowl. Heavy gold and platinum<br>decorated by Pickard or one of the Chicago porcelain decorating studios at the<br>time. 4.25" tall with no damage or detectable wear.<br>isshelf

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Ishmael Soto(1932-2017) Austin Texas Studio Pottery Abstract Mid Century Modern<br>Thick drippy glaze vase. 7" tall x 5.5" wide. No cracks, chips, restorations, or<br>crazing.<br><br>Below is an excerpt from the artists eulogy.<br><br>Ishmael Soto, longtime Austin ceramicist and teacher, died Monday after a battle<br>with cancer. He was 84.<br><br>“Ishmael’s passing is a loss for us all in the community,” said Sylvia Orozco,<br>director of Mexic-Arte Museum. “He was a great human being, teacher and artist.<br>Ishmael was one of the first, if not the first Mexican-American Austinite to<br>become a professional visual artist.”<br><br>Artist and teacher Ishmael Soto died Feb. 27 at age 84. Contributed by Tahila<br>Mintz<br><br>Soto won many prizes and was exhibited frequently in group and solo shows.<br><br>A native Austinite, Soto earned his first degree from the University of Texas<br>and his second from the famed Cranbrook Academy of Art in Michigan. His 57th<br>Annual Potters Show and Sale took place in December 2016. He taught ceramics at<br>UT for seven years — one of the first Hispanics to teach in the art department<br>— then at St. Edward’s University and Austin Community College for a total of<br>more than 30 years..<br><br>“He was a modest, generous mentor and major inspiration to many artists,” said<br>his widow, Cynthia Leigh. “He taught thousands of students over his lifetime.<br>Many of his students decided to become artists from his encouragement and<br>support. He did not try to mold his students to imitate his work; he encouraged<br>them to follow their own artistic path and draw on their own talents”<br>B26

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c1900 Haviland Limoges Snack Set Cup and plate Pink roses with gold. Great snack set from the late 19th to early 20th century with no damage or significant wear. The cup measures 4 1/8 inches wide, including handle and 2 inches tall. The saucer /snack plate, which has a fitted indentation for the cup, measures about 8 1/2 inches long and 7" wide. isshelf

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1907 Charles Wallace Quicksell Limoges Raised gold porcelain Syrup pitcher for Dr Herbert G Pettebone for Jessie Flick Beers. Great piece with no damage or restorations, very minimal wear to gilding. Interesting with the built in provenance. 5.75" tall. No markings other than what's shown, top quality porcelain most likely French. Quicksell Decorated a fair amount of Porcelain in the Early 20th century, I believe he was decorating in the US, possibly for Pickard.tw271

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c1890 Cunha palissy ware Charger with Snake/turtle. 9.75" wide, very slight loss<br>to leaves on top, actually I only found one spot. No restorations or major<br>damage to top. There appears to be a restorations to the foot-rim which has<br>shrunk/ degraded. Strong stable piece that displays very well, some white wall<br>paint on front and reverse side from when it wasn't taken down while painting<br>interior wall. So the place to the left of the second pic is slight loss, the<br>place to the right is white interior wall paint.

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Large 1820's Staffordshire Lion Indian/African/Egyptian Scene Pyramids Servingbowl. Amazing condition 12 5/8" diagonal, extremely cool pattern that seems to be extremely rare as I can find no exact matches. Guaranteed 190+ years old with no cracks, chips, restorations, or significant wear. Has am impressed Asterix type mark on the reverse side that may be an early Adams mark. tw272

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1880's Majolica Plate and shallow bowl. Selling both pieces of British majolica, largest 8.75" wide, neither with any damage or restorations, light stains on bowl.isshelf

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Pr Antique Meissen Potpourri vases model number 884 and artists mark 70, blue<br>crossed swords mark with cancellation, with iron read 9; 19th C., after a model<br>by Johann Friedrich Eberlein from 1747. Base and bowl fired in two pieces and<br>screw-mounted, with decorative cap on interior. Measurements Height: each, with<br>lid 13 inches Width: 6 3/4 inches Diameter: bowl, 6 1/8 inches Weight Each: 6<br>lbs. 8.5 oz. Combined: 13 lbs. 1 oz.<br><br>Condition: Each with minor areas of restoration to some flowers first vase: babe<br>and seated woman with losses to feet and one babe lacking right leg, with losses<br>to flowers, and leaves; second vase: babe and seated woman with losses to one<br>foot each, with losses to flowers, most notable to cover's finial, cover<br>interior rim with 1 3/4 inch chip to underside, with associated crack 5 3/4<br>inches in length and associated minor areas of restoration, and with repaired<br>chip approximately 1/2 inch in length. One with Factory firing flaw in base<br>where the porcelain is joined on the top, only visible on exterior with very<br>close examination.

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18th Century Rudolstadt Volkstedt Napoleonic Horse figure. I guarantee thisfigure to be 200+ years old. If it is actually a depiction of Napoleon's horse then it would be early 19th century, but I believe it be from the last decade of the 18th century. 5 7/8" tall x 6.5" long, with a very old professional restoration that is now flaking off on the mid to upper body of the horse. Volkstedt Porcelain - History In September 1760, Georg Heinrich Macheleid (1723-1801) made a request to Prince Johann Friedrich, Fürst von Schwartzburg-Rudolstadt to establish a porcelain factory in Sitzendorf, Thuringia, Germany. Macheleid previously worked at a glass factory in Glücksthal. Independent of the ceramicists at Meissen, Macheleid conducted his own research into creating a hard paste porcelain.Prince Johann Friedrich granted Macheleid’s request in 1762 with the stipulation that the plant be located near his court in Schwarzburg-Rudolstadt. Macheleid established the Aelteste Volkstedter Porzellanfabrik (Oldest Volkstedt Porcelain Factory) in Volstedt which became part of Rudolstadt in 1923. Macheleid created a self-sustaining village for his workers.In 1767, Macheleid left. The factory came under the control of the prince, his wife, his son, and five other investors. They leased the factory to Christian Nome from Erfurt. During the latter half of the eighteenth century, Volksted gained a reputation for its well modeled and painted figurines, rivaling those of Meissen. In 1793, Prince Johann Friedrich purchased all outstanding shares. In 1797, Prince Ludwig Friedrich, Johann’s successor, sold the factory to his brother-in-law Ernest Constantine, Landgrave of Hesse-Philippstahl, who sold it to Wilhelm Greiner and Carl Holzapfel several years later. Nome left around 1800.isshelf

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18th Century Meissen Figure. 5.5" tall x 5.25" at widest point. Very old<br>professional restoration to left arm, loss to ribbon/flowers in hair and a few<br>tiny chips on ruffles and lace.<br>figcab

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C1890 10.25" RS Prussia Bowl. No damage of any type or restorations, wear to rim gilding.tw271

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Herend Miniature White spotted Rabbit 1" tall x 1 1/8" long with no damage or<br>wear.<br>trinketdrawer

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4 c1900 8.25" hand painted Dresden plates. Selling the 4 plates shown, finest<br>quality painting and porcelain. Hand written retailers name Wright, Tyndale &<br>Van Roden Philadelphia on back of each. No damage, wear, or restorations to any.<br><br>Wright, Tyndale & Van Roden Philadelphia was a very high end store which<br>specialized in selling porcelain during the approximate period 1880 until 1930<br>in Philadelphia. It sold Minton historical scene plates as well as many other<br>Minton, Limoges and comparable quality makers of porcelain. Later, similar<br>stores were Caldwells and Bailey Banks. Its predecessor store had Tyndale in the<br>name.<br><br>The term "Dresden porcelain" refers more to an artistic movement than a<br>particular line of figurines or dinnerware. Several decorating studios emerged<br>in this Saxony capital in response to the rise of "Romanticism" during the 19th<br>century. Dresden was an important center of this artistic, cultural and<br>intellectual movement, which attracted painters, sculptors, poets, philosophers<br>and porcelain decorators alike. In 1883, in response to the exciting<br>developments happening all around them, four prominent ceramic decorators<br>registered the famous blue crown Dresden mark, and the widely popular "Dresden<br>style" was born.

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1984 Large Sara Post Texas/California Abstract studio pottery Centerpiece bowl 12.75" wide x 3.75" tall with no cracks, chips, restorations, crazing, or wear.Abstract painter Sara Post was born in Texas but has spent her adult life in northern California. Post studied painting at Southern Methodist University and holds Masters’ in Ceramics and Art Education from Northern Arizona University. She has been a practicing artist since 1981, winning national acclaim for her glaze-painted ceramic work, starting with inclusion in Neiman-Marcus’s American Art Forms. In the past decade, her surfaces and media have evolved, leading her ultimately to a layering of paint, collage, and wax which, while nonrepresentational, speak to notions of personal history, change, and records thereof. Her current vein of work is held in numerous galleries and museums, and is featured in the seminal text, Cold Wax Medium: Techniques, Concepts and Conversations by Rebecca Crowell and Jerry McLaughlin. Sara Post, With Tom PostEDUCATION—BA Studio art/art education, Southern Methodist University, Dallas, Texas—MA Ceramics/art education, Northern Arizona University, Flagstaff, Arizona—Directed studies in ceramics, University of California, Davis, CaliforniaAPPRENTICESHIPS AND RESIDENCIES2006Il Bisonte, Florence, Italy, printmaking and monotypePRIMARY WORK EXPERIENCE1981—Studio Potter, President, T.S. Post Inc., studio pottery, art studio, Davis, CaliforniaTom and Sara Post are known for hand-built shapes that are loose and totally functional. The surfaces are finished with blended brush colors creating color fields highlighted by repeated geometric accents. The Posts began collaborating on ceramic pieces in 1976. Together they operated T.S. Post Ceramics producing a vast line of functional pieces from 1981-2005. TheirAfter 2005 they focused on one of a kind pieces and wall collages using tiles to create color field paintings.Public CollectionsMuseum of Arts and Design, New York, New YorkSmithsonian American Art Museum, Renwick Gallery, Washington, DCBibliographyAmerican Art Collector, Volume 1, Book 1. Berkeley, CA: Alcove Books, 2004.Fina, Angela and Jonathan Fairbanks. The Best of Pottery. Rockport MA: Quarry Books, 1996.Palmer, Tom. American Art Collector, Volume 2, Book 1. Berkeley, CA: Alcove Books, 2005.Pozo, Angelica. Making and Installing Handmade Tile. Asheville, NC: Lark Books, 2005.The Artful Home, Madison, WI: Guild Publications, 2005, 2006, 2007.

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c1900 Richard Klemm Dresden Salad plate set of 4, only one with full RK decorator's mark. All obviously from same blank and painting factory. No significant wear, no chips, no cracks. 7.5" wide, selling the 4 shown.isshelf

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1880's French A Klingenberg Limoges Demitasse cup and saucer set (7). Sellingthe 7 Eggshell porcelain demitasse (espresso) cup and saucers shown, they each look to have an ornate P monogram on the saucer incorporated into the pattern, really an amazing set all hand painted with absolutely no damage. No cracks, chips, restorations, or significant wear to gilding, they all ring like a bell. Selling all 7 with 4.5" wide saucers, small cups not tea cups, these are cabinet sized or for strong espresso coffee.A. Klingenberg was an accomplished Limoges artisan painter when he opened his own porcelain factory and decorating studio in the Limoges region of France in the early 1880's. There does not seem to be a surfeit of information about Klingenberg or his company other than that he merged with Charles Dwenger's studio sometime in the late 1890's or very early 1900's. Klingenberg & Dwenger together manufactured porcelain products, produced decorated finished porcelain pieces, and exported them world-wide until 1910 when the company closed its doors. While there may be a paucity of detail about A. Klingenberg and his company, there are numerous astonishingly lovely works of art that this short-lived company left behind.

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18th Century KPM Berlin Porcelain Woman with pear in hand figure. Woman with a pear in her hand : KPM Berlin, 18th century. Designed by Friedrich Elias Meyer in 1765, standing on a three-passage base with tree support. Porcelain with polychrome painting and. Underglazed blue sceptre and impressed v. 8.5" tall with loss to each of the three bowl and wear to gilding at base. No other chips, cracks, or restorations.issshelf

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Hutschenreuther Porcelain Mallard Duck in flight. Amazingly no damage on this delicate figure. 5.5" wide x 4.5" tall, best quality hand painted figure.

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1970 Salt Glazed Studio Pottery Vase. Unsure of artist but obviously a skilled potter. 5.25" tall with no damage or wear.tw206

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Vintage MCM Robert Brady California Studio Pottery Vase. 5.5" tall x 4.75" wide<br>with no damage or wear.<br><br>Robert Brady (1946–present) is an American modernist sculptor who works in<br>ceramics and wood. Born in Reno, Nevada, he has made his home in the San<br>Francisco Bay Area for many decades. Brady is a multi-faceted artist who works<br>in ceramics, wood, painting, and illustration, and is best known for his<br>abstract figurative sculptures. Brady came out of the California Clay movement,<br>and the Bay Area Arts scene of the 1950s and 1960s, which includes artists such<br>as Peter Voulkos, Viola Frey, Stephen de Staebler, and Robert Arneson who was<br>his mentor and teacher in college.<br><br>Don Reitz lived and worked in Clarkdale, Arizona. He claimed that he would have<br>been a poet but for dyslexia and his inability to process language. This<br>redirected him toward visual art where he found his voice in clay. Reitz’s art<br>is his legacy, and through constant reinvention and originality, he extended the<br>definition and potential of the ceramic arts.<br>isshelf

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Kimm Lanus Pop art large hand painted porcelain vase. 12.5" tall with no damage<br>or wear.<br><br>Kimm Lanus was born in Rome, New York, was raised in New England, and currently<br>resides in Granbury, Texas. Her studies in art began in 1972 at University of<br>Texas at Arlington, and from her first exposure to art history and the painting<br>of Toulouse Lautrec, Rossetti, Rapheal, Albrecht Durer, and later Carriere, and<br>Edward Hopper. She was so deeply moved by these artists that art become a way of<br>life and she made sure it was in the forefront of her life moving forward.<br><br>“I have been lead to paint images of Mary after a vision I experienced ten years<br>ago. I was seated alone at church, in the silence of prayer, her presence was so<br>clear I could hear the movement of her garments as she knelt before me. I paint<br>her in the perspective of many different s and nationalities to promote a sense<br>of unity. Her image speaks of unconditional love, family, peace, and healing.<br>Women often connect to her with a Goddess sense of empowerment.”<br><br>Lanus taught school for over six years to the middle school level, as well as<br>teaching privately to adults and teenagers. After teaching for over ten years as<br>well as doing workshops for the art guilds of Granbury, McKinney, Wylie, and<br>Richardson, Texas, she participated in several juried shows such as the Collin<br>County Annual Show, Holiday National Show, Dallas Visual Arts Annual Show,<br>Granbury Arts Annual Show, Plano Annual Art Show, Wylie Annual Art Show, Wylie<br>Annual Show, Richardson and Irving. She received first and second place awards<br>on numerous occasions, and ‘Best of Show’ from the Art Institute of Chicago.

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Antique Meissen Boy with Bird Cage Figure. 5" tall x 5" wide. Loss to one birdswing and leaves from tree, two leaves are included in plastic bag shown. No restorations or significant breaks, no cracks. isshelf

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18th century Derby Porcelain boy figure. 6.25" tall, late 18th century with slight loss to tree limbs, something at each foot and minor wear here and there. No restorations, no cracks.isshelf

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c1890 Dresden Flowers Hand Painted 10" Reticulated Raised gold plates. Selling<br>the 4 plates shown, as good as they get is what they are. No cracks, chips, or<br>restorations, no significant wear to gilding. One has a factory firing flaw<br>glazed over, not quite separated part of the reticulated section shown in top of<br>last pic. These are white porcelain, not the cream shown in the pic.<br><br>The term "Dresden porcelain" refers more to an artistic movement than a<br>particular line of figurines or dinnerware. Several decorating studios emerged<br>in this Saxony capital in response to the rise of "Romanticism" during the 19th<br>century. Dresden was an important center of this artistic, cultural and<br>intellectual movement, which attracted painters, sculptors, poets, philosophers<br>and porcelain decorators alike. In 1883, in response to the exciting<br>developments happening all around them, four prominent ceramic decorators<br>registered the famous blue crown Dresden mark, and the widely popular "Dresden<br>style" was born.

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1970's Peter Deneen Studio Pottery Vase. 7.75" x 5.25" with no damage or wear of<br>any kind.<br><br>Peter Deneen began his lifelong journey with ceramics while studying pottery at<br>Luther College in Decorah, Iowa. During this period he also began attending<br>Marguerite Wildenhain’s Pond Farm School (located in northern California) in<br>1968. Peter went on to earn his M.A. from the University of Iowa in 1971.<br><br>Inspired By Art & History<br>During this time, Peter caught the inspirational fire of the Bauhaus movement of<br>Walter Gropius in Post World War I Germany. The main thrust of the Bauhaus “was<br>to create an environment which would nurture the bond between art, industry and<br>trade through education; to insure the cooperation of industry and artists in<br>the field of mass production.”<br><br>ESTABLISHING DENEEN POTTERY<br><br>In 1972, Peter and Mary Deneen established their first studio and showroom at<br>Park Square Court in the Lowertown neighborhood of St. Paul. Here they began<br>producing hand thrown functional and decorative pottery and dinnerware.<br><br>“Form follows function,” was embedded within their work through the teachings<br>from Marguerite Wildenhain, recalling the Bauhaus lessons she learned from<br>Gerhard Marcks. It was during this time that Mary started to produce more<br>commemorative items and ceramic figures, while launching a “Bear Essentials”<br>line.<br><br>White Picture corner top leftWhite Picture corner top rightWhite Picture corner<br>bottom leftWhite Picture corner bottom rightEarly Days of Deneen Pottery<br>1974<br>PARK SQUARE COURT IN LOWERTOWN<br>•<br>“The Spin of a potter’s wheel brings prosperity, unfettered life-style.”<br>This was the title of the article that ran in a local St. Paul publication<br>around 1974. “Peter Deneen sits at his potter’s wheel, fingers fashioning<br>burnt-cinnamon clay into pots and plates, goblets and candle-holders, tall,<br>corked canisters and small spice bottles.”<br><br>At this time, the Deneens wanted to open retail outlets similar to Pottery Barn,<br>but make all of the products at their Lowertown studio. A favorite quote (of the<br>current office) staff has Peter saying. “We’ll never be more than a handful of<br>people. I’d never get larger than three stores,” says Peter.” “Don’t say<br>‘never,'” interjects Mary.” Wow, how the path has deviated from the plans made<br>in 1974!<br>isshelf

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High quality Vintage Asian Style Incised Celadon Studio pottery bottle form vase 5 5/8" tall with 1" interior opening of mouth, 4.5" wide. No cracks, chips, or restorations. At the moment I'm unfamiliar with the artisan but in my opinion the quality is top notch.isshelf

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Herend Albino Rabbits figure. 2.25" tall and wide with no damage or wear.figshelf

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c1890 Large R.S. Prussia Tankard Pitcher 11 1/8" tall x 7 7/8" handle to spout.<br>No cracks, chips, or restorations, slight wear to gilding on top rim. Original<br>Authentic 120 or so year old RS Prussia porcelain.<br>isshelf

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1880's Majolica Stag plate and leaf dish. Selling both pieces, leaf dish wish small chip on reverse side shown at top of last pic, tiny chip and short tight hairline on plate. No other chips, no cracks, no restorations.isshelf

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Antique Dresden porclain oval bowl Measures 9 13/16" x 7" x 1 5/8" deep. All hand painted with no cracks, chips, or restorations.isshelf

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Herend Hadik Hussar Porcelain Figure. No cracks, chips, or restorations. 9" tall<br><br>Count András Hadik de Futak (Hungarian: gróf futaki Hadik András; German:<br>Andreas Graf Hadik von Futak; Slovak: Andrej Hadík; 16 October 1710 – 12 March<br>1790) was a Hungarian nobleman[1] and Field Marshal[2] of the Habsburg Army. He<br>was Governor of Galicia and Lodomeria from January 1774 to June 1774, and is the<br>father of Karl Joseph Hadik von Futak. He is famous for capturing the Prussian<br>capital Berlin during the Seven Years' War.<br><br>Early life<br>András Hadik, son of a lesser noble family, was born on October 16, 1710, in<br>Csallóköz (then Kingdom of Hungary, now Žitný ostrov in Slovakia) or in<br>Kőszeg,[3] Kingdom of Hungary. He had Hungarian,[4][5][6][7] Luxembourgian[6]<br>and German[6] ancestors. According to another source, he was of Hungarian ethnic<br>origin, but the name "Hadik" is a diminutive from the Slovak appellative had<br>("snake"), the family was thus of Slovak extraction.[8] Contrary to this belief,<br>Hadik himself had no knowledge of the Slovak language.[9] Alternative theories<br>also suggest his Tartar or Cherkess ancestry.[10]<br><br>His father, Mihály Hadik (d. 1733) was a cavalryman. His mother, Franciska Hardy<br>had a German background.[6] András Hadik volunteered for the Ghilányi Hussar<br>regiment when he was 20, and at 22 he was given the rank of officer and became<br>the standard bearer in the Dessewffy Hussar regiment in the Habsburg army. Hadik<br>fought in the War of the Polish Succession (1733–1738) and the Austro-Turkish<br>War, 1737-1739. In 1738 Hadik was promoted to the rank of captain.<br><br>Military successes<br>During the War of the Austrian Succession (1740–1748) he gained fame for his<br>actions against the Prussians at the city of Neisse (Nysa, now Poland) using<br>surprise attacks and tricks under the unwritten laws of the so-called "small<br>war," relying on the excellent training of his light cavalry hussars. During the<br>war he served under Prince Charles Alexander of Lorraine and was promoted to the<br>rank of Lieutenant-Colonel. In 1744 he gained the rank of Commanding Colonel of<br>his own hussar regiment, then near the end of the war in 1747 he attained the<br>rank of General and was appointed commander of a cavalry brigade.<br><br>Early in the Seven Years' War (1756–1763), Hadik executed the most famous hussar<br>action in history: when the Prussian King Frederick was marching south with his<br>powerful armies, the Hungarian general unexpectedly swung his 5,000 force of<br>mostly hussars around the Prussians and took their capital Berlin. The city was<br>spared for a negotiated ransom of 300,000 thalers,[2] which he distributed among<br>his troops. For this feat, Hadik was promoted to the rank of Field Marshal. He<br>was also awarded the Großkreuz of the Maria Theresia Order<br>figshelf

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1979 William Wilhelmi Texas Studio pottery Framed Art tile 4.25" tile, 7 1/8"<br>frame, no issues with either.<br><br>Corpus Christi potter William Wilhelmi has pieces in many private and public<br>collections world wide, including his iconic porcelain cowboy boots in the<br>Smithsonian.<br>Bill Wilhelmi began his artistic training by taking every art course offered at<br>San Diego State College from 1956 to 1960. The artist spent three years in the<br>Navy, where he said he spent most of his time decorating officers’ clubs, and<br>after his discharge enrolled in a graduate program at UCLA. The art that<br>Wilhelmi creates demonstrates a conscious movement away from the<br>Japanese-influenced style that he was taught at school, and a development of a<br>design that expresses his roots in Texas.

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c1910 French Hand Painted Limoges Condensed Milk Container and underplate. No<br>cracks, chips, or restorations, slight wear to gilding on top handle shown,<br>overall clean 100+ year old gold.<br>6 1/8" underplate, 6" total height.<br>isshelf

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c1900 Sterling Enamel Art Nouveau Arabesque calling card case. Tested sterling<br>with hallmark as shown hand painted hand engraved S monogram on reverse. no<br>damage or dents, some scratches to enamel. 91 grams. 3.25" X 2.5"

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Antique Royal Vie3nna Style Hand Painted Cabinet Vase. 7" tall x 3.75" wide with<br>no cracks, chips, or restorations. Some loss to some of the white "jewels" that<br>decorate the vase and a few of the gold ones.

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c1920's Dresden Ballerina figures with lace dresses. Very good condition with minor expected loss to dresses, no significant loss or chips elsewhere, no cracks. Tallest 5", selling both.isshelf

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c1890 RS Prussia Deep Bowl 10.5" x 3.5" deep no cracks chips, or restorations,<br>some wear to gold but extremely attractive. Colors much more vibrant than pics<br>suggest.

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c1850 Large Masons Ironstone Centerpiece Planter. Nice large piece ready to be<br>put to use. over 150 years old with no damage or detectable wear. The feet are<br>slightly uneven so it does rock, could put a felt on one foot or just leave it<br>alone. 10.75" x 9.75" x 4.5" tall. Uncommon shape.<br>isshelf

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Large French Sevres Style Porcelain Jewelry Casket. Large sized amazing quality<br>100% hand painted jewelry box from the first quarter of the 20th century. Nice<br>hinged enclosure that clasps it shut very tight then the lid pops up slightly<br>when the clasp is opened. The hinge is nice and tight so it stays open at<br>various intervals. Very nice raised gold all over, with a very well painted<br>romance scene on top. 8" wide x 3.75" tall shut x 5.5" deep. No cracks, chips,<br>restorations, or detectable wear. This has been very well cared for and likely<br>not used for the past 100 years or so.

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Rosenthal Bear Figure. 7.25" long x 4.5" tall with no cracks, chips,<br>restorations, or other issues.<br>TW153

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Retro Paul Uhl Raku Studio pottery teapot form sculputure. Vintage estate fresh<br>piece from the late 20th century.<br><br>9.5" tall x 10.5" wide with no cracks, chips, restorations or other issues<br><br>Paul Has been a full time Clay artist for over 35 years, since graduating from<br>U.T. Austin. Showing and selling his work at jury art shows and galleries all<br>over the country.

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c1760 Derby Allegorical Figure Musicians 10" tall 5.25" base. Uncommon and largefigure from the third quarter of the 18th century. Under UV examination, I observe that there is professional restoration overall, particularly to the all figures and horn, the figural group is intact with hairline from cape through to pedestal, typical small chips and losses to applied foliates and flowers. B38

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4 1950's Charles Dickens Royal Doulton Character jugs 4.5". Selling the 4 jugs<br>shown from the 1950's 4" tall with no cracks, chips, restorations, or crazing.<br>isshelf

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Huge 19th century brown glazed teapot with eagle 12" tall x 15" handle to spout,<br>a few tiny glaze flakes at the slot on the lid to keep it secured, real chips,<br>no cracks, no restorations. Built in strainer, this is a very big teapot<br>guaranteed from the last half of the 19th century.

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c1860 Staffordshire cow and farmer spill vases. Each 8" tall x 9.5" wide with no<br>cracks, chips, or restorations.

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