jarrones

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 astressed-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

Leer Más Menos

1975 Irving J Slotchiver Tennessee Studio Art Glass Vase. No cracks, chips, or scratches. 6.5" tall x 4" wideTw47

Leer Más Menos

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.

Leer Más Menos

16" c1900 Wilhelm Schiller Austrian Majolica Vase 11.75" wide with handles. X 157/8" 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.

Leer Más Menos

18.5" Vista Alegre Mottahedeh Lowestoft Rose Large Floor Vase 7" wide. Nocracks, chips, restorations, crazing, or gold wear.

Leer Más Menos

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

Leer Más Menos

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.

Leer Más Menos

12.75" Texas Studio Art Glass Vase Michael McDougal 7" wideNo 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.

Leer Más Menos

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.

Leer Más Menos

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.

Leer Más Menos

1920's Weller La Sa Scenic Cabinet Vase 3.75" tall with no cracks, chips, or<br>restorations. Two thumbprint blemishes on back side that I didn't attempt to<br>clean or modify.<br><br>tw163

Leer Más Menos

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

Leer Más Menos

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

Leer Más Menos

1920's French Legras Cameo Art Glass Vase. 9" tall with no cracks, chips, orrestoraitons.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

Leer Más Menos

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

Leer Más Menos

1920's Steuben Aurene Footed Flared vase shape #227. Good Steuben vase, footedform with ruffled rim in gold aurene glass with a nice platinum iridescence, signed aurene #227, 6"w x 6.5"h No damage or significant wear. Purchased May 07, 2006 at Treadway Toomey's Auction in Illinois.Steuben Glass WorksSteuben Glass is an American art glass manufacturer, founded in the summer of 1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is in Steuben County, from which the company name was derived. Hawkes was the owner of the largest cut glass firm then operating in Corning. Carder was an Englishman (born September 18, 1863) who had many years' experience designing glass for Stevens and Williams in England. Hawkes purchased the glass blanks for his cutting shop from many sources and eventually wanted to start a factory to make the blanks himself. Hawkes convinced Carder to come to Corning and manage such a factory. Carder, who had been passed over for promotion at Stevens and Williams, consented to do so.In 1918, Steuben was acquired by Corning Glass Works and became the Steuben Division.In July 2008, Steuben was sold by Corning Incorporated for an undisclosed price to Schottenstein Stores,[2] which also owns 51% of Retail Ventures, a holding company for DSW, Filene's Basement, and formerly Value City Department Stores; Value City Furniture, which changed its name to American Signature Furniture; 15% of American Eagle Outfitters, retail liquidator SB Capital Group, some 50 shopping centers, and 5 factories producing its shoes, furniture and crystal.On September 15, 2011, Schottenstein announced it was shutting down Steuben's Corning factory and Manhattan store, ending the company's 108-year history. Soon after, Corning Incorporated repurchased the Steuben brand. In early 2014, The Corning Museum of Glass announced that it would work with independent contractors to reproduce Steuben using a new, lead-free formula and their classic leaded crystal.Carder period (1903-1932) Steuben Glass Works started operation in October 1903. Carder produced blanks for Hawkes and also began producing cut glass himself. Carder's great love was colored glass and had been instrumental in the reintroduction of colored glass while at Stevens and Williams. When Steuben's success at producing blanks for Hawkes became assured, Carder began to experiment with colored glass and continued experiments that were started in England. He soon perfected Gold Aurene which was similar to iridescent art glass that was being produced by Tiffany and others. Gold Aurene was followed by a wide range of colored art glass that eventually was produced in more than 7,000 shapes and 140 colors.Steuben Glass Works continued to produce glass of all sorts until World War I. At that time war time restrictions made it impossible for Steuben to acquire the materials needed to continue manufacture. The company was subsequently sold to Corning Glass Works and became the Steuben Division. Carder continued as Division manager without any real change in the company's operation except that he now had reporting responsibilities to Corning Glass Works' management. Corning's management tried, mostly unsuccessfully, to limit the articles that Steuben made to only the most popular. Production continued until about 1932.In 1932, there was a major change in Steuben management. The nationwide depression had limited the sale of Steuben and there was a lessening of public interest in colored glass. In February 1932, John MacKay was appointed to Carder's position. Carder became Art Director for Corning Glass Works. Steuben then produced primarily colorless art glass.Steuben still produced colored art glass, but mostly to fill special orders. A few new colors were added after Carder transitioned into his new role with Corning Glass Works, but the last known sale for colored art glass by Steuben was in 1943 TW273

Leer Más Menos

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

Leer Más Menos

1930's French Art Deco Daum Nancy Bubbles Vase. 5" tall with no damage, signed<br>toward the base rim as shown in last two pics.<br>isshelf

Leer Más Menos

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

Leer Más Menos

1880's New England peachblow vase 3.75" tall x 2.5" wide with no damage or<br>issues.<br><br>The Glass of New England 1818-1888<br>The glass industry was attracted to New England for many of the same reasons it<br>was attracted to other locations throughout history; access to natural fuel<br>resources, availability to world marketplaces, and a ready work force. Of the<br>many glass houses in New England in the early to mid-1800s, two of the best<br>known were The New England Glass Company and The Boston and Sandwich Glass<br>Company. The New England Glass Company was located in the Cambridge area of<br>Boston. The use of the term "Cambridge Glass" in literature has led to some<br>confusion with the somewhat later Cambridge Glass Company of Cambridge, Ohio.<br>The New England Glass Company was incorporated in 1818. Deming Jarvis, the only<br>one of the four owners with practical business experience, was to run the shop.<br>Mr. Jarvis, born in Boston into a wealthy family, had working experience in the<br>dry goods business before joining the NEGC. He had a unique talent for selecting<br>the right men and getting them to come to work for him, including some of<br>Europe's most skillful cutters. Deming's father died in 1823, leaving him with<br>considerable wealth and he spent some time in Pittsburgh<br>studying the local methods of glass making.<br>isshelf

Leer Más Menos

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.

Leer Más Menos

Antique Chinese Champleve vase. 8 3/8" tall x 7" handle to handle x 7" opening.<br>Slight loss or repair below each handle and separation on part of the base<br>preventing it from holding water. Easy fix with solder, displays very well from<br>all sides.<br>isshelf

Leer Más Menos

Antique Chinese Famille Rose Vases pair 14" tall x 7" wide, selling both vases<br>very well painted, unusual shape and form. 19th century Chinese vases, both with<br>very good professional restorations to necks detectable under UV light. Not<br>detectable to most by looking at the exterior of the vase with the eye. Selling<br>both the vases shown.

Leer Más Menos

18th century Japanese bronze vase 5.25" tall x 4 1/8" wide at top with nicepatina

Leer Más Menos

1945 Rookwood MCM Chinoisiere Vase 6.25" tall. No cracks, chips, or<br>restorations, overall crazing which seems intentional.

Leer Más Menos

Antique Japanese Meiji period cloisonne vase 7.5" tall, a few very small pinsized spots, one very small ding to the right of the decoration shown in the last pic. Signed on base mostly covered by Christies label.

Leer Más Menos

1940's/50's Frankoma Ada Clay Large Turquoise Blue vase 10.25" tall with nocracks, chips, restorations, or detectable wear. The base of this piece looks really old, It may be Blue/gray jade color, this was part of a large collection of old blue Frankoma I purchased from the family of a lifelong collector, there were many variations in color and I'm not a world renown expert on Frankoma, it's beautiful, early and blue/green.

Leer Más Menos

12" tall Harding Black (1912-2004) Texas Studio Art pottery vase with the best<br>drippy Chinese Flambe glaze. 7" wide. Very imposing piece, 12 oz v8 can shown<br>for scale. 3 really small inconsequential flakes on footrim and a few glaze<br>skips on shoulder possibly intentional. No significant chips, no cracks, no<br>restorations. Very cool space age form on this piece.<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><br>anderas

Leer Más Menos

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

Leer Más Menos

1930's Noritake Luserware Bird of Paradise vase. No damage or significant wear.<br>5.25" tall<br>kitshelf

Leer Más Menos

1947 Early Dryden Pottery jar/mini vase from Pratt Jun-Sen Banquet. 3" tall with no damage or significant wear.Dryden Pottery was founded in 1946 in Ellsworth, Kansas by Alan James Dryden aka "Jimmy", who relocated his business to Hot Springs, Arkansas in 1956. isshelf

Leer Más Menos

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

Leer Más Menos

1922 Rookwood Art pottery vase in pink/purple matte. No cracks, chips,<br>restorations, or crazing. 6.75" tall x 3.75" wide.<br>isshelf

Leer Más Menos

12" Meiji Period Japanese Imari Vases pair. Not only one of the best look Imari<br>vases I've had, but a pair of them, 12" tall One with old stable 2.5" long<br>hairline at top shown to the very left of the last pic. No other cracks, chips,<br>or restorations. Nice pair of approximately 150 year old vases.<br>isshelf

Leer Más Menos

1920's Durand Blue Cut to Clear glass Vase. 8 5/8" tall with no cracks, chips,<br>or restorations. Does appear to have some cloudiness in the interior which I<br>didn't attempt to remove. unmarked.<br><br>Durand art glass was made between 1924 and 1931. Durand was the art glass<br>division of Vineland Flint Glass Works in New Jersey which was founded by Victor<br>Durand in 1897. Many of the glass artists came from the Quezal Art Glass company<br>which closed in 1924. The artists at Durand were granted a great deal of freedom<br>to produce glass in a variety of styles. Many pieces were blown using an unusual<br>yellow glass which many collectors now refer to as "Ambergris". Durand produced<br>a wide variety of art glass items including bowls, vases, perfume bottles,<br>candlesticks and lamps. Durand's art glass quickly gained fame for its beauty<br>and quality. In 1926 Durand received a medal of honor at the Sesquicentennial<br>International Exposition in Philadelphia. Sadly production ceased in 1931 when<br>Victor Durand died in an auto accident.<br>b34

Leer Más Menos

4 Mid Century Murano Satin glass Toothpick holders/miniature vases. Selling the 4, all vintage from the third quarter of the 20th century. No damage or wear other than wear to labels. Two have original labels, others unmarked but guaranteed Italian Murano glass. Tallest 2 3/8" x 2.5" wide at rim. toothpickdrawer

Leer Más Menos

1920's Steuben Alabaster Lamp Shade Vase Flared. No cracks, chips, or restorations, expected wear to base on about 100 year old piece of glass. 5.5" tall x 5 9/16" wide at rim. I could not find a mark but it is definitely Steuben from the first quarter of the 20th century.isshelf

Leer Más Menos

1920's Weller Apple tree bud vase. 10.5" tall with no cracks, chips, or restorations.isshelf

Leer Más Menos

1920's Weller Apple Tree vases. Selling the three shown all different sizes,<br>tallest 8.5". All with no cracks, chips, restorations, or crazing.<br>isshelf

Leer Más Menos

Antique Dresden Flowers Bud vase. 8.25" tall with no cracks, chips, or restorations. Faint blue underglaze crown type mark, 19th century. Hand painted high quality piece from a collection of Nymphenburg. The mark does resemble an earlier Nymphenburg mark but it's difficult to tell.TW166

Leer Más Menos

3 American Art Pottery Weller/Niloak/desert sands minature vases/match/toothpick holders. Selling the three with no cracks, chips, or restorations. Crazing on the desert sands and Weller. tallest 2.25", The Niloak appears unmarked but the quality and age are guaranteed, I believe I've seen this shape marked or with a paper label.toothpickdrawer

Leer Más Menos

1920's French Art Deco Baccarat Chinoiserie art glass vases. Selling both vases<br>Baccarat mold blown French crystal from the first quarter of the 20th century. 8<br>3/8" tall with 4 3/8" x 2 5/8" wide rim. Rare to find especially in a pair in<br>this condition with no cracks, chips, restorations, or cloudiness.<br>B48

Leer Más Menos

1920's Steuben Carder Era Fan Vase Pair, One green with castle etching, one<br>amber. Green with Steuben Acid stamp in pontil, amber apparently unmarked. No<br>cracks, chips, restorations, or significant wear. Both approximately 8.5" tall x<br>7" wide at rim.<br><br>Steuben Glass is an American art glass manufacturer, founded in the summer of<br>1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is in<br>Steuben County, from which the company name was derived. Hawkes was the owner of<br>the largest cut glass firm then operating in Corning. Carder was an Englishman<br>(born September 18, 1863) who had many years' experience designing glass for<br>Stevens and Williams in England. Hawkes purchased the glass blanks for his<br>cutting shop from many sources and eventually wanted to start a factory to make<br>the blanks himself. Hawkes convinced Carder to come to Corning and manage such a<br>factory. Carder, who had been passed over for promotion at Stevens and Williams,<br>consented to do so.<br>isshelf

Leer Más Menos

1920's Steuben Carder Era Fan Vase Jade and Alabaster. 8.5" tall x 7" wide<br>guaranteed authentic Carder Era Steuben. Apparently unmarked. No cracks, chips,<br>restorations, or significant wear.<br><br>Steuben Glass is an American art glass manufacturer, founded in the summer of<br>1903 by Frederick Carder and Thomas G. Hawkes in Corning, New York, which is in<br>Steuben County, from which the company name was derived. Hawkes was the owner of<br>the largest cut glass firm then operating in Corning. Carder was an Englishman<br>(born September 18, 1863) who had many years' experience designing glass for<br>Stevens and Williams in England. Hawkes purchased the glass blanks for his<br>cutting shop from many sources and eventually wanted to start a factory to make<br>the blanks himself. Hawkes convinced Carder to come to Corning and manage such a<br>factory. Carder, who had been passed over for promotion at Stevens and Williams,<br>consented to do so.<br>isshelf

Leer Más Menos

1930's Art Deco Roseville Laurel Vase. 6.25" tall x 7" wide. No cracks, chips,<br>restorations, or significant crazing. Crazing inside footrim.<br><br>tw147

Leer Más Menos

Antique 800 Silver Mounted Cut overlay glass Vase. Fantastic piece from the first quarter of the 20th century. 8" tall with 2 5/8" rim. Beautiful cranberry/Amethyst mix, a unique color. Top quality piece that could easily be Baccarat/St Louis, Val St Lambert, or one of other worlds top glassmakers. 80% silver rim, hallmark looks like LY or LV with something in the center. No damage whatsoever.TW107

Leer Más Menos

15.5" Vintage Chinese Cloisonné Birds and Butterfly Vase. Nice, high qualitypiece. Estate fresh from the third quarter of the 20th century with no damage, minor oxidation to exposed brass. No identifying marks. Large piece 15.5" tall x 7.25" wide. isshelf

Leer Más Menos

Antique Japanese Meiji period cloisonne vase, no damage or significant wear.

Leer Más Menos

14" Vista Alegre Mottahedeh Tobacco Leaf Vase Lowestoft Reproduction 6" wide. No cracks, chips, restorations, crazing, or gold wear. Hand painted. Retired shape but would retail for twice my asking price directly from Mottahedeh if still available.

Leer Más Menos

1960's Gerhard Meisel(1903-1979) Stahnsdorf German Studio pottery vase. 7" tall with no cracks, chips, restorations, or crazing. Fantastic glaze with subtle blue dots towards the top.Gerhard MEISEL1903born in Opole, Poland1921-1923School of Arts and Crafts, Breslau1926-1928traineeship at Kieler Kunstkeramik1928-1931studied at the Art Academy in Dresden (sculpture with Karl Albiker)1931-1933artistic director in Schramberg majolica factory1933-1936Carstens-Uffrecht KG (Neuhaldensleben)1949-1968own workshop in StahnsdorfDied in 1979in Stahnsdorf, GermanyTW234

Leer Más Menos

15" c1850 Old Paris Porcelain Mantle Vases Pair. 15" tall x 7.25" wide at rim.<br>Very substantial pair of vases with minimal wear to gilding. The one with the<br>pink top has Two chips, one on left side of top rim and one to a leaf on the<br>same side. I missed these when purchasing them as they don't stand out on huge<br>vases like this especially when displayed up high like a mantle. The other has<br>no chips, cracks, or restorations.<br>isshelf

Leer Más Menos

1997 Robert Eickholt Heavy Purple Abstract studio art glass vase. No cracks, chips, restorations, or scratches. 8.25" wide x 5 7/8" tall.Robert Eickholt is a well known glass artist who has been creating captivating blown glass for over 40 years. Robert founded Eickholt Glass in 1978 when he returned home to Columbus, Ohio after studying glassblowing in Berkeley, California.Once home he continued his studies at Ohio State and at the Columbus College of Art and Design.Since its founding the studio has produced numerous types of beautiful art glass creations such as paperweights, vases, eggs, sculptures and perfume bottles. Each piece is made one at a time and completely unique.Eickholt Glass is quite well known for their distinctive designs which incorporate precious metals including gold and silver and rare oxides like cobalt and copper. Their beautiful art glass has earned them accolades worldwide.tw246

Leer Más Menos

1940's Noritake Nippon toki Kaisha Hand painted dragon vase. 9 5/8" tall wonderful with partial label intact. No cracks, chips, restorations, or detectable wear.TW245

Leer Más Menos

1920's Steuben Lamp Shade Vase Flared. No cracks, chips, or restorations,expected wear to base on about 100 year old piece of glass. 5.5" tall x 5 3/8" wide at rim. I could not find a mark but it is definitely Steuben from the first quarter of the 20th century.tw249

Leer Más Menos

Huge 19th Century Dresden Floor Vase with lid. 100% hand painted, incredible<br>piece wider than me, every branch, leaf, eyeball, etc hand painted. 25" tall x<br>14" wide, one very small chip on footrim shown in last pic. No other cracks,<br>chips, or restorations. Extremely large, heavy, palatial type piece. Some<br>expected wear to gilding.

Leer Más Menos

Antique Japanese Silver Wire Cloisonne Vase. Late 19th to early 20th century<br>with no damage whatsoever. 5.25" tall x 4.5" wide, silver wire, top, and bottom.<br>Marked silver on base. Guaranteed high content silver over 90%.

Leer Más Menos

1940's Noritake Hand Painted Iris Vases On brass Stands Pair. Unusual Pair of hand painted vases with an uncommon Noritake mark. No cracks, chips, restorations, or wear, hand painted with subtle variations. 11" tall with the removable stands, 10.5" tall without. The stands came with the vases, I'm including them and it will be up to you whether you want to use them or not.TW234

Leer Más Menos

Antique Chinese Cloisonne Bottle Form Vase with Foo lions. 9.25" tall x 5.5" wide, late 19th to early 20th. One dent shown in the third pic on the right side of the Champleve design. No other cracks, damage, or loss.b60

Leer Más Menos

14" Huge Wimberly Glassworks art glass fan vase. 8" wide at rim with no cracks, chips, restorations, or wear. Signed WGW 2007 on base. While not very old, this would retail for about $400-$500 new from Wimberly Glassworks and it's in new condition, handmade.TW221

Leer Más Menos

1970's Linda Genet Texas Studio Pottery vase Mid Century Modern. Great piece by Retired professional potter Linda Genet, a former student of Ishmael Soto that made a name for herself locally and this piece shows you why. 6.75" tall x 5.5" wide with no damage.tw227

Leer Más Menos