c1870 Japanese Cloisonne Over Blue/White Porcelain Vases Pair 8.5". One is 8<br>5/8". Not quite a pair, but I'm guessing they've been together for 140 years so<br>I'd hate to separate them now. Externally special pieces.<br>Guaranteed mid to late 19th century. No cracks, chips, or restorations. Rare,<br>possibly one of a kind pieces that required a great amount of effort to produce.

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c1890 Hand Painted Yellow Mother of pearl glass vase. Very substantial piece<br>7.25" tall x 6.5" wide with no cracks, chips, or restorations, expected wear to<br>gilding. Closed bubble shown in pics 2 and 3.tw232

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c1900 Pigeon Blood Funeral Vase in Brass/Marble Holder/stand. Good original piece late 19th to early 20th century. No damage to glass 13.5" tall with a 4" x 6" base. TW207

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c1900 Egyptian Brass Vase with silver overlay Camels, Pyramids, Sphinx. Good<br>early piece with nice patina. Minor wear and two small dents in base, hole<br>drilled in base also. 7.5" tall x 3.5" wide.<br>B62

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c1910 D'Argental French Scenic Cameo Glass Vase with Shepherd Scene 11.75" x<br>5.5". Incredible complex labor intensive piece of over 100 year old hand<br>engraved art nouveau French cameo glass with no issues or damage whatsoever.St<br>Louis had been and still is one of the great old glass houses of France; they<br>had gone to the Paris exhibition in 1900 expecting to be crowned king of glass,<br>only to be completely out-classed by the cameo glass of the ‘upstart’ Emile<br>Galle. In the early 1920s they were still trying to get their own back. Paul<br>Nicolas cut a deal with St Louis –he would make cameo glass for them using their<br>facilities and then also he could use their facilities to make cameo glass for<br>himself too. This was before the days of ‘studio art glass’ if you had a glass<br>kiln you were a major sized business, not a one-man-band. The pieces Nicolas<br>made for St Louis were signed a number of ways, but quite soon they settled on<br>‘D’Argental’ (the brand name they had established for their own previous,<br>unsuccessful attempts at Cameo glass). Nicolas sneakily added a cross of<br>Lorraine to the mark to indicate when he personally made a piece. When he made<br>Cameo for himself pieces were signed ‘P. Nicolas’ usually followed by<br>‘Nancy’.Production at St Louis clearly had its limitations, the crystal glass<br>they used, had a more limited colour palate than he was used to at Galle and the<br>extra toughness of the crystal glass meant internal polishing was effectively<br>impossible. But using crystal did mean the cameo and wheel cutting could be much<br>finer.B61

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c1890 Coralene Heavily Enameled Cranberry Art glass Vase with lots of gold 8.5"<br>tall with no cracks, chips, or restorations, and minimal wear to gold, some<br>expected loss to the glass coralene beads over the gold.<br>TW183

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c1890 Mother of Pearl Glass Vase blue with Zigzag pattern. 6.5" tall with No<br>cracks, chips, or restorations.

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c1910 American Brilliant Period Cut Glass Vase with Alternating Intaglio Panels<br>11.75". Really large and special one of a kind piece from the late 19th to early<br>20th century. I cannot find a signature but that doesn't mean there isn't one.<br>It is very clean with one very small chip on inside rim and a few small chips on<br>foot,no chips to sides or wear to the cutting.<br>TW167

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c1880 Pre-Nippon Moriage Vase with Hand Painted Roses. Nice piece circa late<br>19th century, Japanese unmarked. Likely made just before the Nippon mark was<br>required in 1891. No cracks, chips, or restorations. Very minor loss to the<br>Moriage decoration all sides are shown in the pics. 7.5" tall x 7.75" handle to<br>handle.<br>tw140

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c1880 New England Glossy Peachblow Art Glass Vase. Nice piece with no damage<br>originally from the famous Frederick Rindge Collection. 6.25" tall x 4" wide.<br>Rindge was high up in the Mt Washington Glass Collectors Society and I believe<br>others in the Nineties, he was very well respected in the art glass community<br>and shared his expertise in many glass publications. I remember reading his<br>articles in the 1990's when one could only dream of having the opportunity to<br>own an authentic rare piece of American 19th century art glass like this.<br>B25

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This is a magnificent glass vase on a metal base. Overall height is<br>approximately 10 3/8 ", the glass vase measures 9 1/2" and is up to 3 1/4" wide.<br>The diameter of the opening is 1 7/8". Pressed white milk glass with a beaded<br>top rim. Multiple embossed designs around the neck and base as well as embossed<br>scroll-like designs down the full length of the sides. Beautifully hand painted<br>on front and back with multiple small blue flowers with yellow centers and long<br>wispy brown stems and leaves. Reddish-brown accents and many white beads. The<br>metal base consists of a silver-colored ring and four attached gold-colored<br>feet. The ring appears to be made of brass with a silver colored paint, the feet<br>seem to consist of a white/grey metal with gold painting. Both ring and feet are<br>quite ornate. Manufactured by the C.F. Monroe Company in Meriden, CT and the<br>bottom of the vase is accordingly marked with the orange Wavecrest mark as used<br>around 1900. In excellent condition without any damage. No chips, no cracks, no<br>wear other than three enamel dots on the very top rim, no repairs.<br>B25

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c1890 Amberina Art Glass Footed vase. 5" tall x 3" wide with no cracks, chips, or restorations. Fine quality piece. tw126

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c1920 Art Deco Czechoslovakia Iridescent Luster Pottery Vase. 10.25" tall, great amphora style piece with strong Art Deco influence. 2 very small shallow flakes on feet, no other chips, cracks, or restorations. tw104

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c1915 Chinese Bronze Vase with Bamboo Decoration. Extremely heavy for it's size. Lighter in color than a typical bronze patina but I feel like it's been polished before, some discoloration as shown. Came with the note shown inside it. TW74

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c1890 Harrach Bohemian Mary Gregory Style Vase With Cut Gilded top and Magnificent painting Cased Cranberry glass 6.25" tall x 4" wide at rim with no cracks, chips, scratches, and minimal wear to gilding. Tw98

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c1880 Meiji Period Japanese Satsuma Vase. 6" tall with no cracks, chips, or<br>restorations. Signed on back.

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Guaranteed 19th century. No cracks, chips, or restorations. c1870 19" Imari<br>Temple Floor Vase 10" wide Meiji Period Japanese Porcelain Palace Vase. Minor<br>wear to Gilding, mainly on ring below neck. It has been drilled long ago most<br>likely to make a lamp.

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Meiji Period c1890 Japanese Imari Figural Fukurokuju Vase. 7.5" tall 1.25" tight hairline in vase rim. No other cracks, chips, or restorations. B4

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Measures 7.5" wide at top x 16.75" tall. Guaranteed right around 110-130 years<br>old and wonderful. No cracks or chips, or excessive wear to enamel. One small<br>nick on inside of the base rim. Some wear to Gilding on rim and foot. This piece<br>is the deepest cranberry I have ever seen. Ruby with a hint of cranberry.

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8" tall x 4.5" wide. All hand decorated. Nice fancy embossing, really good quality porcelain, no cracks, chips, or restorations, minor gold wear on trim and handles.

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c1900 Antique Rosenthal Copenhagen Duck vases pair 6" tall each with no cracks,<br>chips, or restorations. Selling both.<br><br>isshelf

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Antique Meiji Japanese Satsuma Vase 6" tall x 4.5" wide with no cracks, chips,<br>or restorations, very nicely decorated.

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Antique Pink Cut Velvet art glass vase 7" tall with no cracks, chips, or<br>restorations.<br>tw106

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c1890 Bohemian Crackle finish Peachblow art glass vases. 3 3/8" tall x 3.75"<br>wide with no cracks, chips, or restorations. Most likely Kralik. Selling both<br>vases for one price.<br>tw154

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Antique Royal Vienna/KPM Style hand painted Cabinet Portrait vase of beauty. Guaranteed late 19th to early 20th century, 100% hand painted, artist signed Dietrich, likely the same one that did several KPM plaques. This piece being dark and shiny is extremely difficult to photograph and way better in person. 6 7/8" tall x 3.5" wide with no cracks, chips, or restorations. Beautiful complex scene painted on all sides. isshelf

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c1890 Mt Washington Burmese vase hand painted with rigaree. Absolutely perfect with no damage or restorations whatsoever, amazing piece 3" tall and wide. MT. WASHINGTON AND PAIRPOINT GLASSMt. Washington and its successor, the Pairpoint Corporation, was one of America’s longest-running luxury glass companies (1837-1957), one that rivaled its better known contemporaries, Tiffany and Steuben. It constantly reinvented and re-invigorated its business through creativity in texture, decoration, pattern, and color - developing a variety of styles and decorating techniques which were so technically complex that few are even practiced today.The Mt. Washington Glass Company was founded in South Boston in 1837, and moved to New Bedford, Massachusetts, in 1870. In 1880, Thomas J. Pairpoint, an English silversmith, was hired to run the Pairpoint Manufacturing Company, another company in New Bedford which Mt. Washington’s owners established to produce ornate silver-plated mounts for Mt. Washington glass.In 1894, the Pairpoint Manufacturing Company absorbed Mt. Washington, and the company was renamed the Pairpoint Corporation in 1900, which remained the company’s name until it went out of business in 1938. It was revived briefly as the Gundersen-Pairpoint Glass Company but closed permanently in 1957. The company’s most successful years were from 1880 (in the height of the opulent Gilded Age) to 1930 (the end of the exuberant Roaring Twenties).MT. WASHINGTON ART GLASS AND CUT GLASSEnglishman Frederick Shirley was hired in 1872 to run Mt. Washington’s chandelier department, and two years later was put in charge of the entire company. Shirley was entrepreneurial and litigious, quick to adopt new designs and quick to complain if he thought any other firm was copying his wares. By the time he resigned in 1891, he had amassed a total of 27 patents and five design patents for various types of glass, most of which were quite successful.In 1885, Shirley introduced Burmese glass, a translucent glass that shaded from yellow to pink, which was highly decorated in the elegant and sophisticated style characteristic of the day. It became an immediate success on the Art Glass market. Shirley was a good businessman and took advantage of the dawning age of advertising to promote Burmese glass extensively.Mt. Washington’s large decorating shop specialized in enameling. The decorators who worked on Burmese glass also applied their skills to a variety of other decorated glasses with exotic names like Royal Flemish, Crown Milano, Colonial, and Pearl Satin Ware. By 1890, the company was advertising itself as “Headquarters in America for Art Glass Wares.” isshelf

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c1890 Mt Washington Burmese Thomas Hood poem vase with rigaree. Absolutely perfect with no damage or restorations whatsoever, amazing one of a kind piece that belongs in a museum. 4" tall x 4 1/8" wide. MT. WASHINGTON AND PAIRPOINT GLASS Mt. Washington and its successor, the Pairpoint Corporation, was one of America’s longest-running luxury glass companies (1837-1957), one that rivaled its better known contemporaries, Tiffany and Steuben. It constantly reinvented and re-invigorated its business through creativity in texture, decoration, pattern, and color - developing a variety of styles and decorating techniques which were so technically complex that few are even practiced today. The Mt. Washington Glass Company was founded in South Boston in 1837, and moved to New Bedford, Massachusetts, in 1870. In 1880, Thomas J. Pairpoint, an English silversmith, was hired to run the Pairpoint Manufacturing Company, another company in New Bedford which Mt. Washington’s owners established to produce ornate silver-plated mounts for Mt. Washington glass. In 1894, the Pairpoint Manufacturing Company absorbed Mt. Washington, and the company was renamed the Pairpoint Corporation in 1900, which remained the company’s name until it went out of business in 1938. It was revived briefly as the Gundersen-Pairpoint Glass Company but closed permanently in 1957. The company’s most successful years were from 1880 (in the height of the opulent Gilded Age) to 1930 (the end of the exuberant Roaring Twenties). MT. WASHINGTON ART GLASS AND CUT GLASS Englishman Frederick Shirley was hired in 1872 to run Mt. Washington’s chandelier department, and two years later was put in charge of the entire company. Shirley was entrepreneurial and litigious, quick to adopt new designs and quick to complain if he thought any other firm was copying his wares. By the time he resigned in 1891, he had amassed a total of 27 patents and five design patents for various types of glass, most of which were quite successful. In 1885, Shirley introduced Burmese glass, a translucent glass that shaded from yellow to pink, which was highly decorated in the elegant and sophisticated style characteristic of the day. It became an immediate success on the Art Glass market. Shirley was a good businessman and took advantage of the dawning age of advertising to promote Burmese glass extensively. Mt. Washington’s large decorating shop specialized in enameling. The decorators who worked on Burmese glass also applied their skills to a variety of other decorated glasses with exotic names like Royal Flemish, Crown Milano, Colonial, and Pearl Satin Ware. By 1890, the company was advertising itself as “Headquarters in America for Art Glass Wares.” isshelf

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c1910 Drip glaze art pottery vase. 5 3/8" tall, great piece with no damage or restorations from the first quarter of the 20th century, maker unknown by me. tw105

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c1890 3.25" fitter Vaseline Opalescent glass lamp shade. 7.5" tall x 5.5" wide with no damage whatsoever, it is a litghter color of vaseline with a smaller amount of Uranium than some but does glow under uv light as shown. tw105

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c1900 Large American Sterling Silver Overlay Vase over emerald green glass.<br>Illegible marks just near the base shown in a few pics, likely Matthews or<br>Alvin, 14" tall x 5.5" wide x 3.75" wide at rim. No cracks, chips, or<br>restorations.<br>isshelf

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c1890 Mt Washington Crown Milano American art glass vase. 8" tall with no cracks, chips, or restorations, and nearly no wear to enamel/gold. Amazing square shaped vase continuously decorated throughout. tw273 MT. WASHINGTON AND PAIRPOINT GLASS Mt. Washington and its successor, the Pairpoint Corporation, was one of America’s longest-running luxury glass companies (1837-1957), one that rivaled its better known contemporaries, Tiffany and Steuben. It constantly reinvented and re-invigorated its business through creativity in texture, decoration, pattern, and color - developing a variety of styles and decorating techniques which were so technically complex that few are even practiced today. The Mt. Washington Glass Company was founded in South Boston in 1837, and moved to New Bedford, Massachusetts, in 1870. In 1880, Thomas J. Pairpoint, an English silversmith, was hired to run the Pairpoint Manufacturing Company, another company in New Bedford which Mt. Washington’s owners established to produce ornate silver-plated mounts for Mt. Washington glass. In 1894, the Pairpoint Manufacturing Company absorbed Mt. Washington, and the company was renamed the Pairpoint Corporation in 1900, which remained the company’s name until it went out of business in 1938. It was revived briefly as the Gundersen-Pairpoint Glass Company but closed permanently in 1957. The company’s most successful years were from 1880 (in the height of the opulent Gilded Age) to 1930 (the end of the exuberant Roaring Twenties). MT. WASHINGTON ART GLASS AND CUT GLASS Englishman Frederick Shirley was hired in 1872 to run Mt. Washington’s chandelier department, and two years later was put in charge of the entire company. Shirley was entrepreneurial and litigious, quick to adopt new designs and quick to complain if he thought any other firm was copying his wares. By the time he resigned in 1891, he had amassed a total of 27 patents and five design patents for various types of glass, most of which were quite successful. In 1885, Shirley introduced Burmese glass, a translucent glass that shaded from yellow to pink, which was highly decorated in the elegant and sophisticated style characteristic of the day. It became an immediate success on the Art Glass market. Shirley was a good businessman and took advantage of the dawning age of advertising to promote Burmese glass extensively. Mt. Washington’s large decorating shop specialized in enameling. The decorators who worked on Burmese glass also applied their skills to a variety of other decorated glasses with exotic names like Royal Flemish, Crown Milano, Colonial, and Pearl Satin Ware. By 1890, the company was advertising itself as “Headquarters in America for Art Glass Wares.”

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6.75" c1890 Coraline Art glass vase. Minor loss to glass beaded coraline<br>decoration. No cracks, chips, or restorations...

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c1880 Japanese Graduated Miniature Kutani bud vases. No chips, cracks, or restorations. Tallest 5", shortest 3.25", all three great quality but tallest is really great. Selling all three. japandrawer

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c1870 French Old Paris Porcelain Vase with hand painted portrait. Wear to<br>gilding shown, no cracks, chips, or restorations. 12.5" tall.

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c1900 Cranberry Bohemian Moser art glass vase. 8 3/8" tall with no damage,<br>minimal wear to gilding. Antique piece well over 100 years old, unmarked, likely<br>Moser.<br>tw270

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c1900 Green Moser gold enamel art glass vase. 12 3/8" tall, late 19th to early 20th century. A few small chis to factory ground rim, largest shown in third pic, nothing detectable without very close examination and they could be easily ground down. isshelf

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Antique Stevens and Williams Red and white cameo glass vase. 7.25" tall with no cracks, chips, or restorations. Late 19th to very early 20th century.Cameo glass is a luxury form of glass art produced by cameo glass engraving or etching and carving through fused layers of differently colored glass to produce designs, usually with white opaque glass figures and motifs on a dark-colored background. The technique is first seen in ancient Roman art of about 30 BC, where it was an alternative to the more luxurious engraved gem vessels in cameo style that used naturally layered semi-precious gemstones such as onyx and agate. Glass allowed consistent and predictable colored layers, even for round objects.isshelf

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c1900 23.75" Palatial Moser gold decorated vase. Entirely hand painted, huge piece 23.75" tall x 6" wide at the rim. Some wear to gilding, no cracks, chips, or restorations. Guaranteed late 19th to first quarter of the 20th century. Apparently unmarked other than the engraved number or initial inside the factory ground pontil.

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c1900 French Crystalline Art pottery vase. Great looking art pottery vase from the first quarter of the 20th century, I believe it's French. No damage or restorations, 5 1/8" tall x 3.5" wide. tw270

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c1910 Amber Loganberry Carnival Glass Vases By Imperial Pair. Selling the pair shown with wonderful color and iridescence. True amber base color on these 10" tall x 6" wide, a true estate fresh pair that's been together for over 100 years with the same family that never sold anything. These both have very nice iridescence, better than average. 9-10 years ago a few of these brought over 2k each for one vase at Seeck Carnival glass auction. I'm going to assume that those bidders got carried away and possibly they even had better iridescence even though that's difficult to imagine. isshelf

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c1900 Whimsical Japanese Satsuma vase with people holding lanterns 5" tall, unusually colorful piece from the late 19th to early 20th century. No cracks, chips, or restorations. TW218

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c1910 Loetz Candia Papillon Footed vase. 5 3/8" tall with 4.75" rim, unmarked<br>with no cracks, chips, or restorations.<br>B48

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Arthur Allison Texas Studio Art glass miniature vase/toothpick holder. 3" tall with no damage or wear. toothpickdrawer

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c1880 Meiji Period French Bronze mounted Japanese Satsuma vase 11.5" tall with no cracks, chips, or restorations. Late 19th century Japanese vase with French bronze mountings of the same period. tw211

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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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c1920 American Imperial Lead Luster Cobalt Iridescent Swirled vase. 6.75" tall x 3 1/8" rim. Nice antique 95-100 year old American art glass vase. isshelf

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c1900 Art Nouveau Sterling Silver Overlay Art glass Vases. Selling both vases<br>shown, Loetz Iridescent 4.25" tall, The other pink cased Opaline 5 1/8" tall<br>with Sterling fish mark. Both tested sterling but I could find no markings on<br>the Loetz piece which is typical.. Neither with any cracks, chips, or<br>restorations.<br>tw134

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c1900 Pink Satin glass Hand enameled vase. 9" tall, great piece from late 19th to early 20th century. No damage or repairs. TW161

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c1890 Majolica Vases with Silverplate Mounts. 8.75" tall x 5.75" wide, rare and unusual. minor loss to a few petals which appears to have been touched up. No major loss, no cracks, one of the silverplate tops looks slightly bent on the back. No identifying marks other than a few scratched numbers on the frames which I'm assuming are silverplate. No wear to the plating, just some tarnish. b12

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c1910 Chinese Republic period famille rose vase. Great 13.5" tall hand painted Chinese vase from the first quarter of the 20th century with no cracks, chips, or restorations. isshelf

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c1900 Kralik Martele Verre-de-Soie Art Nouveau Bohemian art glass vase. Fantastic piece of Bohemian Art Nouveau period and style art glass from the first quarter of the 20th century with no cracks, chips, or restorations. 5.5" tall nice iridescence that didn't show well in the pics. tw193

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c1910 Japanese Brass/Bronze Ikebana Planter/Vase. Nice piece from the first quarter of the 20th century. Top is 12 5/8" wide 10" total height. Appears to have a little silver inlay in the lightweight bronze pot. A few small dents. It is patinated but lighter than other bronze examples I've had so I feel maybe it's brass.

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c1880 Miniature Japanese Meiji Cloisonne Vase with Egret 3.5" tall with no<br>damage, loss, or scratches. Nice over 100 year old piece in an unusual size.<br>TW251

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c1860 Chinese Blue and White Porcelain Canton Bottle Form Vase. Nice piece from the mid 19th century 9.25" tall x 5" wide with no cracks, chips, or restorations, slight roughness on footrim in one spot. TW248

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c1860 Masons Chinese Vase Ironstone Chinoisiere Hand Painted Polychromed Transferware Wash bowl and pitcher set. No cracks, chips, restorations, or crazing, light wear to peach lustre on rim of pitcher and slight wear to hand painted polychrome decoration inside bowl from pitcher resting inside. bowl 14.25"dia., pitcher 13" Charles James Mason registered his Patent Ironstone China trademark in 1813. Mr. Mason was an astute entrepreneur who had already been involved in the early 18th century porcelain import trade from China by the East India Company. When bulk imports basically stopped in the late 18th century, Mr. Mason turned his skills to the manufacture of ceramics in the “Chinese style.” Ironstone, a dense opaque, earthenware, lent itself well to decoration in under-glaze blues as well as the over-glaze enamels. Mason’s wares were an instant success and have remained highly desirable with collectors for almost 200 years. Their decorative patterns, many in a primitive Chinoiserie style, remain unsurpassed for their charm and earthy beauty

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Great piece wonderful patina 6.25" tall. Artist signed by I'm sure a listed<br>artist. There is a pinhole in the base and I'm not sure why as it's very thick<br>heavy bronze, the hole is too small for a lamp cord and it would not look right<br>mounted. Other than that no issues, surely a 1k+ piece by a listed artist with<br>weird/messy handwriting. Me spending an hour trying to figure out who that is<br>won't make this any nicer than it is. I would rather give a better price than<br>waste time. 881.7 grams.<br>tw203

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c1880 Meiji Period Japanese Bronze Vase with Relief Birds flowers and serpent handles. Large and very heavy piece 19th century solid bronze, well thought out work of art. No significant issues, minor wear to patina, no bends or dents, solid piece. 16" tall x 6.75" handle to handle.

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c1890 Victorian Art Glass Collection, Rainbow blown mold vase, Brides bowl, Uranium Vaseline satin Rose bowl, Amberina mug. Selling the 4 pieces shown with no cracks, chips, or restorations. There is a gilt over factory chip on top rim of the amberian mug which is 3.25" tall, vase is 6.5" tall, rose bowl is 3.25" wide, brides bowl is 10 5/8 x 2.5" tall with a 3 5/16" footrim. TW203

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c1890 Mt Washington decorated burmese vase. 4.75" tall x 5" wide with no damage.MT. WASHINGTON AND PAIRPOINT GLASSMt. Washington and its successor, the Pairpoint Corporation, was one of America’s longest-running luxury glass companies (1837-1957), one that rivaled its better known contemporaries, Tiffany and Steuben. It constantly reinvented and re-invigorated its business through creativity in texture, decoration, pattern, and color - developing a variety of styles and decorating techniques which were so technically complex that few are even practiced today.The Mt. Washington Glass Company was founded in South Boston in 1837, and moved to New Bedford, Massachusetts, in 1870. In 1880, Thomas J. Pairpoint, an English silversmith, was hired to run the Pairpoint Manufacturing Company, another company in New Bedford which Mt. Washington’s owners established to produce ornate silver-plated mounts for Mt. Washington glass.In 1894, the Pairpoint Manufacturing Company absorbed Mt. Washington, and the company was renamed the Pairpoint Corporation in 1900, which remained the company’s name until it went out of business in 1938. It was revived briefly as the Gundersen-Pairpoint Glass Company but closed permanently in 1957. The company’s most successful years were from 1880 (in the height of the opulent Gilded Age) to 1930 (the end of the exuberant Roaring Twenties).MT. WASHINGTON ART GLASS AND CUT GLASSEnglishman Frederick Shirley was hired in 1872 to run Mt. Washington’s chandelier department, and two years later was put in charge of the entire company. Shirley was entrepreneurial and litigious, quick to adopt new designs and quick to complain if he thought any other firm was copying his wares. By the time he resigned in 1891, he had amassed a total of 27 patents and five design patents for various types of glass, most of which were quite successful.In 1885, Shirley introduced Burmese glass, a translucent glass that shaded from yellow to pink, which was highly decorated in the elegant and sophisticated style characteristic of the day. It became an immediate success on the Art Glass market. Shirley was a good businessman and took advantage of the dawning age of advertising to promote Burmese glass extensively.Mt. Washington’s large decorating shop specialized in enameling. The decorators who worked on Burmese glass also applied their skills to a variety of other decorated glasses with exotic names like Royal Flemish, Crown Milano, Colonial, and Pearl Satin Ware. By 1890, the company was advertising itself as “Headquarters in America for Art Glass Wares.” isshelf

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c1900 Art Nouveau Royal Bonn Hand Painted Roses Vase. 8" tall x 7" wide with no<br>cracks, chips, or restorations, fine overall crazing with no stains.<br>Royal Bonn is the 19th and 20th Century Trade Name used by the renowned<br>craftsman Franz Anton Mehlem, who produced pottery in Bonn, Germany from 1836 to<br>1931. Fine Porcelain and Earthenware were manufactured in the factory. In 1921,<br>the firm was purchased by Villeroy & Boch and closed in 1931.<br>TW228

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c1900 Threaded Intaglio Cut Heavy gold Green to clear Vases pair. Two great pieces of late 19th to early 20th century art glass. I'm unsure of maker. One has the tiniest chigger flake on rim, and there is very slight rubbing to the threading. No other cracks, chips, or restorations, and clean gold. Selling both 9.75" tall. TW223

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c1890 Rubina Verde Vaseline/Cranberry Opalescent vase. 9 3/8" tall x 6.25" wide rim. The clear base and trim react to UV light. Really cool top, no cracks, chips, or restorations. TW232

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Guaranteed 19th century. No cracks, chips, or restorations. Most of the Gilding on the top rim is significantly worn. All hand decorated. Antique Japanese Signed Imari Vases Birds of Paradise Huge 15" tall x 6" wide

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1920's Steuben Carder Era Fan Vase with intaglio cut Ship Etching. 8.5" tall x<br>7.25" wide guaranteed authentic Carder Era Steuben Unmarked. No cracks, chips,<br>restorations, or significant wear.Steuben Glass is an American art glass<br>manufacturer, founded in the summer of 1903 by Frederick Carder and Thomas G.<br>Hawkes in Corning, New York, which is in Steuben County, from which the company<br>name was derived. Hawkes was the owner of the largest cut glass firm then<br>operating in Corning. Carder was an Englishman (born September 18, 1863) who had<br>many years' experience designing glass for Stevens and Williams in England.<br>Hawkes purchased the glass blanks for his cutting shop from many sources and<br>eventually wanted to start a factory to make the blanks himself. Hawkes<br>convinced Carder to come to Corning and manage such a factory. Carder, who had<br>been passed over for promotion at Stevens and Williams, consented to do so.tw210

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12.5" Meiji Period Japanese Satsuma vase with Raised Moriage decoration. Large piece hand decorated late 19th century. Unmaked, firing flaws at base, overall crazing, possibly high quality restoration to rim. I'm not certain (Doesn't show under UV light) but the crazing seems less prominent in some areas. No cracks or chips.TW199

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1940's Lenox Art Deco Bud Vases with Roses/Gold Green mark. 8" tall x 3.75" wide in center with no cracks, chips, crazing, or wear. b63

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1987 Walt Glass Pottery(1943-2016) McQueeney San Antonio Texas Art Pottery Vase.<br>12" tall x 6.5" wide. An unusual piece from before he got more into mass<br>production, great piece of large art pottery.<br>B55<br><br>Walt grew up in San Antonio and, after serving in the Army, graduated from The<br>University of the Incarnate Word where he later received an Outstanding Alumnus<br>Award. He married Cynthia Vela, also a UIW graduate, in 1975, and they enjoyed<br>40 years together. After finding his artistic passion in creating beautiful,<br>handmade, one of a kind pottery, Walt and Cynthia opened their shop, Village<br>Gallery, in San Antonio's historic La Villita and a production studio in<br>McQueeney, Texas. He and Cynthia loved participating in craft fairs around the<br>country with a special fondness for the "Starving Artists Show" along the San<br>Antonio River Walk and La Villita.<br>They enjoyed a successful artistic venture for over forty years and their<br>pottery has been appreciated across the globe. His unique pottery was collected<br>by dignitaries from around the world, including the Queen of England, Ronald<br>Reagan, and other notables, as well as being featured by San Antonio's sister<br>city in Japan.<br>As a master potter, Walt enjoyed mentoring professional potters from around the<br>world, sharing his technique and skill. Later in his career, he loved teaching<br>Ceramics at Texas Lutheran University in Seguin, Texas where he contributed both<br>in and out of the classroom. With the help of TLU students and faculty, he<br>introduced the "Empty Bowls Project" to the Seguin area, raising funds to help<br>feed the hungry.

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Abstract Raku Planter Vase. I can't make out the mark but it's fantastic. 6.75" tall x 5.75" wide with no damage or wear. B54

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Antique Chinese famille rose Vase. 11" tall nice 19th century famille rose vase.<br>They did a very good job and they did it long ago, but I believe the top was cut<br>off of this piece long ago, they did a good job disguising it.<br>B33

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Antique Chinese Soapstone Monkeys Brush Washer or small vase. Very nice piece<br>with high quality carving and no damage. Nice natural patina from handling<br>throughout the years. This is an old piece circa late 19th century. 7" wide x 3<br>5/8" tall.<br>B35

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1920's Awaji Japanese Deco Art Pottery Vase Tubelined Squeezbag Decoration in the Style of Moorcroft. Very unusual and wonderful piece. Period art deco, signed Made in Japan and the Awahi Kiln Mark. The outlines of the hand painted decoration are Tubelined. 7.5" tall x 7.25" wide at rim. No cracks, chips, or restorations, some expected crazing, but no stains. While the decoration is also Gouda style, this is really next level quality with the tubelined squeezbag and the great matte glaze. In my opinon this would be a Book Cover type example for a few diferent collecting areas, it's fresh to the market for the first time since the internet. Awaji pottery has got its name after the Japanese island at which it was made during a period of about one hundred years, between 1830 and 1939. Most of the pieces we find are made from the mid 1870's when Awaji began to export its products, to the mid to late 1930's when the last of the kilns closed. Earlier wares from the active period of this kiln catered to the Asian taste and could be found imitating Chinese monochromes from the Kangxi period and later. Wares from the turn of the century, the shapes got more inspired by the western art movement such as Art Deco (Jugend) and Art Noveau. Awaji pottery is usually hand thrown. The body is made of high-fired, white or cream colored clay. Footrims can vary from pink or buff to white or grey. The glazes are lead based and often brilliant in tone. They are typically translucent and have a fine crackle. The lead in the glaze gives the colors brilliance and makes the translucent enamels glassy and often iridescent. Most common are the green and yellow Awaji monochromes. The yellow can range from pale lemon to deep amber but also cobalt blue, aubergine, light green, blue, light and dark turquoise, mirror-black, and burdy occurs. Other wares can feature two-tone glazes, three-color glazes that are very similar to Chinese sancai), pieces, with incised decoration (most commonly featuring iris flowers), and applied relief decoration. Also more gaudy examples from the last decade are Flambé and drip glazed wares similar to Japanese Sumida and Chinese Shiwan pottery, or later Jindezheng Jun or transmutation glazes, with generous layers of thick glaze B35

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15th Century Thai Sawankhalok celadon Tall bottle or Vase with incised<br>decorations 15th century or older 4" tall one handle looks to have very old<br>restoration, tiny chip on top rim, no cracks or other issues.<br>b31

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1985 Studio Art Glass Vase Abstract "Shadows" Signed. Interesting piece with illegible to me signature. 9.5" tall with no cracks, chips, restorations, or scratches. TW124

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2 Royal Doulton Flambe Vases with country scenes. Both with no cracks, chips,<br>restorations or scratches. Tallest is 13.5", other is 5.5". The smaller one is<br>very early about 100 years old c1920 and hand painted. The larger is circa mid<br>20th century and a woodcut as stated on the bottom. These are very difficult to<br>photograph at least for me. They're both very beautiful. I'll sell either one<br>individually for $225.<br>B19

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1950's Blue Luray Pastels Epergne Flower Frog Vase. No cracks, chips,<br>restorations, or crazing, one spot with a factory glaze skip on rim, not<br>noticeable from top. 8.5" tall x 9.5" wide.<br>tw160

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Antique Cloisonne Vase with Classical Form and Great Patina. 6.25" tall. Great 19th century piece with fantastic patina and no issues. TW75

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No cracks, chips, or scratches. 7.75" tall x 5" wide.<br>B7

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1940's Hand Painted Heavy Gold Porcelaine de Paris Large trophy vase 15 3/8"<br>tall x 8.75" wide. No cracks, chips, restorations, or wear to very thick real<br>gold Gilding. Small scratch below artists signature.

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1984 Robinson Scott Studio Art Glass Vase. No cracks, no chips, no restorations. 4.5" tall x 4.5" wide

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No cracks, chips, or restorations. 14.5" tall x 8" wide one of a kind item.Well known for her shakers Originally created in 1981 as a means to inspire a stressed-out friend "to take life with a grain of salt", the Shakers actually began their lives a functional salt and pepper shakers. Nineteen years and 30,000 sculptures later… the shakers have evolved into a collection of figurative ceramic art that is displayed and sold in galleries nationwide. Each Shaker is a page in the diary of my life, a 3-dimensional metaphor, which arise from my day-to-day experiences. These living doodles are tiny monuments to the daily experiences of "being". The sculptures capture life's moments of absurdity, contradiction, pain, joy, befuddlement and love. Each Shaker is a completely unique piece of sculpture. They are carefully handcrafted of fine porcelain, then fired and individually hand-painted. No two are ever alike. And the Shakers do indeed let us "take life with a grain of salt" by making us laugh and cry at the absurdity of our predicaments, the humor of our foibles and the wonder of being human. Tw49

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1975 Irving J Slotchiver Tennessee Studio Art Glass Vase. No cracks, chips, or scratches. 6.5" tall x 4" wide Tw47

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15.4" c1860 Meissen Vase serpent Handles Hand Painted, Heavy Gold. 9.5" wide<br>from handle to handle. No cracks, chips, or restorations. Near perfect gold,<br>these are seldom found, but when they are the gold is often very worn on the<br>raised areas.

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16" c1900 Wilhelm Schiller Austrian Majolica Vase 11.75" wide with handles. X 15 7/8" tall. No cracks, chips, or restorations.Wilhelm Schiller began production of porcelain and earthenware in Bodenbach, Bohemia in 1829, operating under the name of Schiller and Gerbing. In 1885, the firm was dissolved and renamed Wilhelm Schiller and Son and remained in operation until the onset of World War I. It is unknown whether the firm of Schiller and Gerbing produced majolica, but the firm of Wilhelm Schiller and Son is clearly the most prolific of the Bohemian manufacturers of majolica.The color palette used by Bohemian majolica makers including Schiller is much more subdued than that of their Staffordshire counterparts. The background of many Schiller pieces is of a matte-finished taupe, light gray or turquoise with glazed surface features in various shades of brown and black. The interiors are usually glazed in turquoise. Much of the firm’s production reflects the transition from traditional Victorian majolica to the Art Deco style. The most common Schiller pieces are decorative vases, jardinieres, table centers and ewers. No examples of Schiller majolica plates, bowls or other functional table-wares are known.Wilhelm Schiller and Sons majolica was marked with the letters ‘WS&S’ that was either impressed or contained within a raised cartouche.

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18.5" Vista Alegre Mottahedeh Lowestoft Rose Large Floor Vase 7" wide. No cracks, chips, restorations, crazing, or gold wear.

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c1900 Chinese Blue and White Nanking Crackle Glaze Floor Vase Hand Painted<br>Emperor 17 3/8" x 8" wide. Nice painting, firing flaw as shown in emperors<br>clothing. No cracks, chips, or restorations

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22.5" Antique Chinese Famille Rose Vase with Kanji and hand painted figures.<br>Circa late Qing to early republic period. No chips or restorations, one very<br>tight about 3" hairline in body on the left side of the Kanji Chararacters, it<br>doesn't go any further, still holds water. No other issues. Gilding wear on<br>handles, some scratches.

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12.75" Texas Studio Art Glass Vase Michael McDougal 7" wide No cracks, chips, scratches, or restorations. Inspired by nature and known for his sense of color and elegant whimsy, Glass artist Michael McDougal lives and works in the Texas Hill Country. He was introduced to glass by Jane Duryea, protégé of Robert Willson and went on to study at the Corning Museum of Glass in New York, the prestigious Pilchuck Glass School in Washington State, under Jane Bruce, Claire Kelly & Antony Schafermeyer and Boyd Sugiki. McDougal has spent time in the "fornaces" of Murano, Italy, as well. Today, he works with his friend and mentor Jason Lawson in studios in Fischer, Texas, a small town north of San Antonio. "Glass is an astoundingly versatile medium," says McDougal."It has an inherent music in it. Working with it in molten form is rhythmic… more of a dance than a process.”  Michael Monroe, former curator and director of the Smithsonian Institution's Renwick Gallery describes a pitcher from McDougal's collection as "…capturing the essence of molten glass in a moment of frozen elegance. The handle, with its dynamic but delicate pattern is beautifully integrated to give both a sense of motion and balance to the piece." "Whether appreciating it or creating it, I love art that elicits a sense of wonder, a sense of awe, makes me grin or laugh," says McDougal. "Whether an exploration of beauty, whimsy, or that huge realm of the unknown, it must remind me that all our human stresses and strains are insignificant.” McDougal's work is featured in galleries throughout Texas and California. He has been featured in shows in Dallas, Fort Worth, San Antonio, Houston and Galveston, among other cities.

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No damage whatsoever 6" tall. Rundskuedag is a Danish folk holiday during which everyone does things backwards or upside down.  I have heard it translated as "Upside Down Day" but I often think of it as "Skewed 'Round Day" (a transliteration of Rund-skue-dag).  Typically, bosses join the workers and one of the workers becomes the boss, and everybody has a good time doing things differently for one day of the year.  Street entertainment is prevalent, and special events and sales are held to raise money for charity.  Royal Copenhagen issued this series of vases as souvenirs of the day, with the proceeds going to charity.  (Anyone with Danish ancestry who would like to expand or correct this description, please contact me!) The first Rundskuedagen vase was produced in 1910, and  they continued every year through at least 1942. They were made in many shapes and sizes, often with a scene of a Copenhagen landmark on the vase, and always with the inscription RUNDSKUEDAG  (or RUNDSKUEDAGEN) and the date.  The designs are first molded into vase, and then handpainted, mostly in cobalt blue, in the same manner as Christmas plates.  Some years are highlighted with additional colors.

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Antique Chinese silver Trumpet vases on wood stands. Selling the pair 8.5" tall<br>x 3" wide at rim x 260 grams total weight. Stands are original to the vases,<br>both circa last quarter of 19th century, no damage to stands or vases, no bends,<br>dents, no monograms. Amazing pair, each marked under the bases covered by the<br>wood stands.<br><br>I'll follow with more pictures later, this is the best I can do without changing<br>setups.

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1942 WW2 Era Japanese Mitsubishi Fighter plane vase. 6" tall with no damage or restorations, some wear to gilding as shown. This vase was created in 1942 by Mitsubishi, which manufactured fighter planes at that time, as a memento of the Army commendation

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1987 Walt Glass Pottery(1943-2016) McQueeney San Antonio Texas Art Pottery Vase.<br>5.75" tall An unusual piece from before he got more into mass production, great<br>piece of large art pottery.<br><br>Walt grew up in San Antonio and, after serving in the Army, graduated from The<br>University of the Incarnate Word where he later received an Outstanding Alumnus<br>Award. He married Cynthia Vela, also a UIW graduate, in 1975, and they enjoyed<br>40 years together. After finding his artistic passion in creating beautiful,<br>handmade, one of a kind pottery, Walt and Cynthia opened their shop, Village<br>Gallery, in San Antonio's historic La Villita and a production studio in<br>McQueeney, Texas. He and Cynthia loved participating in craft fairs around the<br>country with a special fondness for the "Starving Artists Show" along the San<br>Antonio River Walk and La Villita.<br>They enjoyed a successful artistic venture for over forty years and their<br>pottery has been appreciated across the globe. His unique pottery was collected<br>by dignitaries from around the world, including the Queen of England, Ronald<br>Reagan, and other notables, as well as being featured by San Antonio's sister<br>city in Japan.<br>As a master potter, Walt enjoyed mentoring professional potters from around the<br>world, sharing his technique and skill. Later in his career, he loved teaching<br>Ceramics at Texas Lutheran University in Seguin, Texas where he contributed both<br>in and out of the classroom. With the help of TLU students and faculty, he<br>introduced the "Empty Bowls Project" to the Seguin area, raising funds to help<br>feed the hungry.<br><br>isshelf

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1920's French Legras Cameo Art Glass Vase. 9" tall with no cracks, chips, or restoraitons.The Legras glassworks – ultimately a multi-centred concern employing hundreds of people across several manufacturing centres – produced enough highly-distinctive pieces to be considered an art-glass movement in its own right.It’s more accurate, of course, to consider the name one of the foremost in the panoply of innovative, experimental and overtly artistic producers who revolutionised decorative glassware from the mid 1860's, throughout the fin de siècle, across the duration of the Great War and beyond The founding father of the company, François-Théodore Legras, came from humble stock, having be life as a woodsman in the Vosges department south of Strasbourg. In 1859, Legras determined that there was potentially more to life than trees and leaves, and secured himself a clerical apprenticeship at the glassworks in Clairey, a long-established manufactory producing drinking glasses and tableware which – crucially for Legras – included the manufacture of crudely-frosted pieces. After learning his trade for five years, Legras moved to Paris and took a job at the Plaine St Denis factory, securing a senior managerial role by the age of 27. He was director of the works when, underwritten by expat-philanthropist Sir Richard Wallace, it was significantly extended and modernised; the duo also took over another factory at Pantin, on the northern fringes of the city. Unrestrained by the financial strictures of facilities lacking patrons such as Wallace, Legras was able to encourage an experimental approach to glass production, harking back to his childhood in the Darney Forests and using opaque glass – based on Clairey’s frosted material – as a canvas on which designs could be created. The businesses were also underwritten by the production of utilitarian glassware for industry – distilleries and pharmacies – and this security gave François-Théodore the freedom to develop his art-glass production techniques. Intricately cut cameo glass pieces, acid-etched and enamelled imagery – requiring up to five separate firing processes to achieve the desired effect – became the Legras hallmark, with many pieces featuring forested landscapes and the favoured themes of the artistic director - irises, orchids and chrysanthemums.Additional members of the Legras family were apprenticed in to the company, notably a nephew – Charles – whose expertise in the chemical treatment of glass to produce marbled, opaline surfaces on which designs could be overlayed, was to prove a valuable commodity. Charles was ultimately to take over the running of the businesses in 1909, seven years before the death of his uncle. He was able to maintain a level of innovation which sustained the company for another decade – achieving notable successes in developing synthesised “gemstones” which could be ground up and incorporated in to the glass melt to give an extraordinary depth of colouration which provided the base for the production of striking cameo vessels.tw108

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1957 Harding Black Texas Studio Art pottery Lava Glaze vase. No cracks, chips,<br>or restorations 5 1/8" tall.<br><br>Harding Black San Antonio (1912 - 2004)<br><br>A ceramist, sculptor, painter, bricklayer, teacher, Black graduated from<br>Brackenridge High School and attended San Antonio Junior College (1929-30). In<br>1933, Black was taught by Rudolph Staffel to make wheel-thrown pottery and also<br>began to teach children's ceramic classes at the Witte. Black directed ceramic<br>installation in a San Antonio reconstruction project sponsored by the National<br>Youth Administration and the Works Progress Administration art program. In 1955<br>he retired from teaching and devoted his time to ceramics. Black became a<br>well-known ceramist from his research, innovations, and writings in the field.<br>Black's collection and archive is housed at Baylor University. Harding Black's<br>work with clay serves an an important bridge between early Texas and mid-century<br>pottery.<br>tw163

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1993 David Lotton Leaf and Vine Art glass vase 7.75" tall with no cracks, chips, restorations, or wear. Signed David Lotton 1993 Leaf and Vine. The inside of this vase is iridescent. DAVID LOTTON David Lotton is a second generation American glassblower. He is the oldest son of Charles Lotton and was introduced to the world of glassblowing at a very young age. In 1970, Charles started building a furnace and began blowing pieces of glass from melted down pop bottles in a shed behind their house. David was there in this infancy and he was Charles first assistant at the age of ten. David has vivid memories of his childhood working in the shop with his father. When most children were playing childhood games he was spending time after school and on the weekends helping him at the bench. By the age of 14 he started learning how to do finishing work, polishing the bottom of the glass flat. David eventually followed in his fathers' footsteps and by the age of 15 began making paperweights. That ignited a passion to begin glass blowing. David has been creating his one of a kind vessels since 1978. His unique handcrafted works are designed with precise attention to detail. Developing his own glass formulas, David has created a complex palette of colors, giving him the ability to create his multi-layering and sculpting style. Each year David continues to study and refine the techniques he uses in creating his art. David's Clematis Reflection Series, Hollyhock Paperweight Series and Mixed Bouquets Series all reflect his floral patterns which capture his love for detail. He combines color and layering to create depth and beauty. His Organic Sculptures reflect movement and rich hues of a summer sunset. David is inspired by all nature. He has a successful ranch in the hills of Kentucky where he is inspired to evolve, change, and grow continually. He commutes back and forth to fulfill both loves. tw274

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Alain Le Foll 1970s Rosenthal Studio Line vase 8.5". No damage or wear, white spots are reflections in the pics.

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1980 Chihuly student William Morris Art Glass vase height: 10 1/2 inches, width:<br>10 1/2 inches, depth: 3 1/2 inches. Absolutely no damage or wear whatsoever.<br>This vase represents his early work he was producing at Pilchuck while gaffing<br>for Dale Chihuly.<br><br>William Morris was born in Carmel, California in 1957. He is an American glass<br>artist who has been able to change the history of art within his lifetime.<br>Morris was educated at California State University in Chico, California as well<br>as Central Washington University in Ellensburg, Washington. 
In 1978, Morris<br>arrived at the Pilchuck Glass School and found work initially as a driver.<br>Later, he worked with Dale Chihuly, the founder of the school, and eventually<br>became his chief gaffer in the 1980s. Morris remained with Chihuly for about 10<br>years as his chief assistant before deciding to form his own studio and develop<br>his own artistic style of glass blowing.<br><br>For more than twenty-five years, William Morris has captivated and intrigued the<br>art community with hauntingly evocative and beautiful glass sculptures. He has<br>captured the imagination time and again by creating objects that appear to be<br>ancient stone or woodcarvings, not the modern glass sculptures they actually<br>are. His art speaks of human origins, myth, ancestry, and ancient civilizations.<br>It symbolizes a harmony between humanity and nature and provides a ghost-like<br>bond to the world around us – a world that is often forgotten, ignored, and<br>abused.<br><br>Morris gathers much of his inspiration from ancient cultures from around the<br>world – Egyptian, Asian, Native American – all peoples who respected and admired<br>the land they inhabited. Because of this, Morris’s artwork has become something<br>all its own: culturally distinct and yet familiar to all cultures. His pieces<br>embody a spiritual quality that sharply contrasts old beliefs with those of the<br>modern world. These objects speak to our senses and continuously beg us to<br>explore them further.<br><br>Morris achieved much success during his career and retired in 2007. He spent<br>over twenty-five years honing his skills and pushing the medium of glass further<br>than anyone, including himself, could ever have imagined.<br><br>Morris’ work can be found in numerous public collections including:<br><br>The Metropolitan Museum of Art, New York, NY; Corning Museum of Glass, Corning,<br>NY; American Glass Museum, Millville, NJ; Hokkaido Museum of Modern Art,<br>Hokkaido, Japan; Musee Des Arts Decoratifs, Paris, France; Auckland Museum,<br>Auckland, New Zealand and the Victoria and Albert Museum, London, England.

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