Vas

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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c1890 Mt Washington Burmese Trumpet Vases Graduated sizes. Selling both pieces of guaranteed authentic Mt Washington late 19th century American Burmese glass. No cracks, chips, or restorations. They were both purchased from Early's Art Glass Auction in the nineties. They measure 12.75" tall and 9.25" tall.Burmese glass is a type of opaque colored art glass, shading from yellow to pink. It is found in either the rare original "shiny" finish or the more common "satin" finish. It is used for table glass and small, ornamental vases and dressing table articles.It was made in 1885 by the Mount Washington Glass Company of New Bedford, Massachusetts, USA. Burmese glass found favor with Queen Victoria. From 1886, the British company of Thomas Webb & Sons was licensed to produce the glass. Their version, known as Queen's Burmeseware, which was used for tableware and decorative glass, often with painted decoration. Burmese was also made after 1970 by the Fenton art glass company.Burmese is a uranium glass. The formula to produce Burmese Glass contains uranium oxide with tincture of gold added. The uranium oxide produced the inherent soft yellow color of Burmese glass. Because of the added gold, the characteristic pink blush of color of Burmese was fashioned by re-heating the object in the furnace. The length of time in the furnace will determine the intensity of the color. Strangely, if the object is subjected to the heat again, it will return to the original yellow color isshelf

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c1890 Mt Washington Burmese Jack in the Pulpit vase, Tumbler, and diamond optic toothpick. Selling all three pieces of guaranteed authentic Mt Washington late 19th century American Burmese glass. No cracks, chips, or restorations. The toothpick is 2 5/8" tall with 2" rim, tumbler is 3 5/8" tall with 2 11/16" rim. Jack in the Pulpit is 8" tall.Burmese glass is a type of opaque colored art glass, shading from yellow to pink. It is found in either the rare original "shiny" finish or the more common "satin" finish. It is used for table glass and small, ornamental vases and dressing table articles.It was made in 1885 by the Mount Washington Glass Company of New Bedford, Massachusetts, USA. Burmese glass found favor with Queen Victoria. From 1886, the British company of Thomas Webb & Sons was licensed to produce the glass. Their version, known as Queen's Burmeseware, which was used for tableware and decorative glass, often with painted decoration. Burmese was also made after 1970 by the Fenton art glass company.Burmese is a uranium glass. The formula to produce Burmese Glass contains uranium oxide with tincture of gold added. The uranium oxide produced the inherent soft yellow color of Burmese glass. Because of the added gold, the characteristic pink blush of color of Burmese was fashioned by re-heating the object in the furnace. The length of time in the furnace will determine the intensity of the color. Strangely, if the object is subjected to the heat again, it will return to the original yellow color b18

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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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1950's Fenton Miniature Blue opalescent hand vase. 3.75" tall with no damage or detracting issues, better than average molding and opalescence. isshelf

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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 Steuben Aurene Lamp Shade Vase Flared. No cracks, chips, or restorations, expected wear to base on about 100 year old piece of glass. Color is way better than pics suggest, lots of colors in different light. 5.5" tall x 5 3/8" wide at rim. Steuben Glass Works Steuben 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 B43

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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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1920's Steuben Aurene Footed Flared vase shape #227. Good Steuben vase, footed form 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

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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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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

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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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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

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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.

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

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

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

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1940's/50's Frankoma Ada Clay Large Turquoise Blue vase 10.25" tall with no cracks, 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.

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