TWO WOODEN MOUNTS W S. AMERICAN POTTERY FRAGMENTS Two wooden mounts with South American pottery fragments, comprising a varnished wood mount with a live edge supporting a fragment of a foot wearing a sandal, together with a totem pole style mount with three pottery masks or head fragments, the whole resting on a rustic wood base. Provenance: From the Private Collection of Vernon Harris, Cumming, Georgia. Larger approx. h. 17", sq. 5".
Mimbres Black-on-White Pottery Bowl w/ Kill Hole: North America, Southestern US, New Mexico, Mimbres Valley, ca. 950 to 1150 CE. A classic black-on-white pottery bowl created by the Mimbres peoples. The deep, round-bottomed bowl was carefully hand-built via the traditional coil-and-scrape metho, and a mesmerizing decorative program of stepped, striated, and triangular motifs adorns the interior walls. This is part of the Mimbres (and larger Mogollon) tradition of iron-based, mineral-painted pottery. Although much of Mimbres pottery has zoomorphic motifs, there are also examples like this one that boast wonderful stylized geometric motifs. Archaeologists have found bowls like this one in funerary contexts, placed over the face/head of the deceased - and the "kill hole, " the intentional puncture at the nadir of the bowl, has been posited as related to this use. Size: 11. 5" W x 5. 7" H (29. 2 cm x 14. 5 cm). . The Mimbres people occupied the mountain and river valleys of southwestern New Mexico; the name we know them by is from the Spanish word for the willows that grew alongside the river valleys. The artists responsible for creating pottery vessels like this were women, and many Mimbres women have been found in burials accompanied by pottery making tools. . . Provenance: private New Jersey, USA collection; ex-Red Ellison collection, 1940s to 1972, purchased from Roland H. Cipolla in 2007. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #160689 Condition Repaired from dozens of small pieces, with restoration in some areas, and resurfacing with overpainting along new material and break lines; kill hole preserved in center of basin. Abrasions and fading to original pigment, but with nice preservation of original motifs in basin.
Studio Pottery bowl, red clay with green, blue and brown drip, marked E.X.P., 6.25"w x 3"h; with a Studio Pottery bowl, cylindrical form covered in a green glaze, signed, 3.25"h; with a Studio Pottery bowl, round form covered in a mottled mauve glaze, signed, 7"w x 2.5"h; with a Studio Pottery vase, cylindrical form in a blue matte, signed, 5.5"h; with a Studio Pottery vase, bulbous form in a blue crystalline glaze, signed Robert Pinsky 3.5"h
Weller Basket Box Planter yellow green red and blue 4 1/2''h 7 7/8''w marked Weller Pottery paint along the side which does not appear to be part of a restoration.
Art Pottery plates, two, souvenirs from the 1939 World's Fair, stamp on base, 7.25"w; with a Cherokee Pottery vase, red high glaze, marked, 6.5"w x 7"h; with an AMACO vase, mottled blue matt glaze, marked, initials LL, 4.25"w x 3.25"h; with a Cherokee Pottery vase, dark blue high glaze, marked, 8"w x 12"h; with an Art Pottery plate, Majolica-style, unmarked, 7.75"w, minor chip under rim; with a The National Tile Co. pen tray, molded alligator, green matt glaze, marked, 4.5"w x 1"h, chips; with a World War I Era cookie jar, painted face and hat shaped lid, unmarked, 8"w x 8.5"h, minor chips
(STAFFORDSHIRE, BENNINGTON & OTHER POTTERY) Fifteen books. 1) The Knopf Collector's Guides to American Antiques: Pottery & Porcelain. 2) Hodkinson, M. & J., Sherrati? A Natural Family of Staffordshire Figures. 3) Hall, J., Staffordshire Portrait Figures. 4) Turner, H.A.B., A Collector's Guide to Staffordshire Pottery Figures. 5) Pope, C.M., A-Z of Staffordshire Dogs: A Potted History. 6) Olive, A., The Victorian Staffordshire Figure. 7) Larsen, E.B., American Historical Views on Staffordshire China. 8) Haggar, R.G., Staffordshire Chimney Ornaments. 9) Stanley, L.T., Collecting Staffordshire Pottery. 10 & 11) Chaffers, W., Marks & Monograms on Pottery & Porcelain. Vol. 1 & 2. 12) Barret, R.C., How to Identify Bennington Pottery. 13) Barret, R.C., A Color Guide to Bennington Pottery. 14) Barret, R.C., Bennington Pottery and Porcelain. 15) Altman, S. & V., The Book of Buffalo Pottery.
PRE-COLUMBIAN TEOTIHUACAN CLAY GATE LEG 450-650 CE, Mexico, molded and carved tan clay, in the form of a figure standing on a temple within a rectangular frame, wearing elaborate headdress and circular ear plugs, on black metal museum stand, includes original gallery invoice, 9"h x 5"w x 1" (pottery)
Fifteen volumes on Chinese ceramics
Including: W.G. Gulland, Chinese Porcelain, volumes I and II, 1902; A.W. Bahr, Old Chinese Porcelain & Works of Art in China, 1911; O. Rucker-Embden, Chinesische Fruhkeramik, 1923; A.L. Hetherington, R.L. Hobson, Chinesische Fruhkeramik, 1923; G.R. Sayer, trans., Ching-te-chen T'ao-lu, or The Potteries of China, 1951; G.R. Sayer, trans., T'ao Ya, or Pottery Refinements, 1959; Basil Gray, Early Chinese Pottery and Porcelain, 1952; Soame Jenyns, Ming Pottery and Porcelain; Soame Jenyns, Later Chinese Porcelain, the Ch'ing Dynasty (1644-1912); Gompertz, Chinese Celadon Wares, 1958; W.B. Honey, the Ceramic Art of China and Other Countries of the Far East, 1954; Chinese Ceramic Research Institute, Taipei, Taiwan, Selected Specimens of Chinese Porcelains, 1959; J.A. Pope, Chinese Porcelains from the Ardebil Shrine, 1956; and Anthony Du Boulay, Chinese Porcelain, 1963, with dated autograph by the author.
Varying sizes
WILLIAM DE MORGAN (1839-1917) (DESIGNER), J. HERSEY (DECORATOR)
PERSIAN TWIN-HANDLED VASE & COVER, glazed pottery, impressed W DE MORGAN POTTERY SANDS END, black painted FULHAM 2249 J.H 1935cm highProvenance: 2nd Lord Swaythling, thence by descent to the British Decorative Arts Exhibition held at the Louvre in 1914.
Vintage Large Pair of Brown Glaze Lotte and Gunnar Bostlund Table Lamps w/ Original Shades, Pottery alone 12.25 inches
Dimensions: H: 25.5 inches: W: 9.5 inches: D: 9.5 inches ---
Condition: Very Good Condition.
GRIFFIN, John D. The Leeds Pottery 1770-1881. Leeds Art Collection Fund, 2005. fo. in 2 vols. d/ws. Tog.with The Yorkshire Potteries, by same, 2012. fo. in d/w. Plus Don Potteries 1801-1893. Doncaster, 2001. fo. in d/w. sgd. by author. 4
TWO MICHELLE WILLIAMS AND ONE SUSIE W. CRANK NAVAJO POTTERY VASES, EACH SIGNED ON BASE, H OF TALLEST: 7 IN. (17.8 CM.)Two Michelle Williams and One Susie W. Crank Navajo Pottery Vases, Each Signed on Base,, Dimensions: H of tallest: 7 in. (17.8 cm.)
Early Pottery Decorated Teapot w/ Lid: Early Pottery Decorated Teapot w/ Lid. Measures 7" tall x 12" wide. Packaging, Insurance, Handling, Shipping is done in house and is 30. 00 for this item in the continental U. S. Or you are welcome to pick up in person or make other arrangements. Please email or call to request a detailed condition report. Condition Condition reports for specific items are available by calling Kevin Ross at 1-740-701-7511 or emailing rossauctionco@gmail. com
Eight (8) Pottery Lovers Commemorative Pieces left P.A. Lowery Art Tile marked (die impressed) P.A. Lowery Art Tile 2010 Pottery Lovers 2010 30 and seal signed (hand script) P.A. Lowery mint condition 5''w. butterfly magnet reads Pottery Lovers Zanesville 84 reverse signed (hand script) DEB tiny chip on the tip of one wing 2.75''w. brown handled jug reads Pottery Lovers Zanesville Ohio signed (hand incised) Marvin Bailey 2008 mint condition 6.25''h. business card holder reads Pottery Lovers 1997 unmarked mint condition 4.5''w. Weller & Owens artist signature tile reads 2nd Annual Zanesville Art Pottery Convention July 13 1978 marked H&R Johnson Ltd. Cristal Made in England tiny glaze chips on three corners 6'' x 6'' Door vase marked (hand incised) PLR 2007 with (die impressed) DOOR seal tiny chip on the bottom of base 5.5''h. Chris Powell bowl marked (die impressed) Pottery Lovers 2006 signed (hand script) Powell 6.25''w. blue paper weight reads Pottery Festival 1990 25 Years reverse marked (hand incised) 39 Pottery Peregrinators excellent condition 3.25''w.
A TLAQUEPAQUE POTTERY DINNER SERVICE, BY JOSEFINA ARIASA Tlaquepaque pottery dinner service, by Josefina Arias, Circa 1940s; Tlaquepaque, Mexico Some with impressed Josefina Arias mark The pottery service for six wih variously designed polychrome floral motifs on high-gloss red glaze, comprising six divided dinner plates (11.375" Dia.), six salad plates (8" Dia.), six bowls (6" Dia.), six tumblers (5.25" H x 3.75" Dia.), one meat serving platter (3" H x 21.75" W x 15" D), one small platter (17" W x 10.5" D), one flower arranging bowl (4" H x 10" Dia.), one large salad serving bowl (6.75" H x 13.25" Dia.), one gravy boat (4.5" H x 8" W x 6.5" D), one large pitcher (11.5" H x 10.25" W x 6.75" D), one 4-cup teapot (4.75" H x 8.25" W x 5.5" D), one 2-cup teapot (4.5" H x 7.5" W x 4.5" D), and one two-light candelabrum (5.75" H x 8.25" W x 5.25" D), 33 pieces
SUSIE COOPER GRAY'S POTTERY ABSTRACT MOON AND MOUNTAIN POTTERY PITCHER 4"H X 5 1/2"W X 4"DSusie Cooper Gray's Pottery abstract Moon and Mountain pottery pitcher, Much has been written about this extraordinary designer, an icon throughout twentieth-century ceramic design. ‘Susie Cooper – A Pioneer of Modern Design', 2002, Andrew Casey and Ann Eatwell, is an excellent reference book on her career. Miss Cooper joined Gray's Pottery as a paintress in June 1922 straight from the Burslem School of Art. Gordon Forsyth had encouraged her to do this: it was a means of gaining the necessary experience to enable her to take-up a place at London's Royal College of Art to study dress design. Forsyth approached AE Gray and asked him to appoint her temporarily in order to fulfil the RCA's conditions of being in full-time employment. She remained with Gray's Pottery until October 1929 and left to start her own business, Susie Cooper Pottery Ltd, thereby launching a business that lasted over fifty years. Her formidable success was in pottery, not dresses! That success was also translated to Gray's Pottery in the 1920s and helped to really put the Glebe Works on the map, at home and abroad – even with the Royal Family. Despite the lack of concrete evidence regarding what exactly Miss Cooper designed while at Gray's Pottery, her name does appear in the detail of various exhibition lists, notably those of the British Institute of Industrial Art in 1927 and 1929 (see below). Dimensions: 4"H x 5 1/2"W x 4"D
ROSEVILLE POTTERY PINECONE HANGING BASKET: Blue, green and brown colorway. . Issued: 1931. Dimensions: 6"H x 7. 25"W. Manufacturer: Roseville Pottery. Country of Origin: United States Condition Age and use related wear Available payment options on Bidsquare
NATIVE AMERICAN, SANTA CLARA PUEBLO POTTERY, WEDDING VASE, HARRISON BEGAY JR. AND MARIE, 1980. 9 1/2"H X 6 1/4"W X 5 1/2"DNative American, Santa Clara Pueblo pottery, wedding vase, Harrison Begay Jr. and Marie, 1980., Black carved pottery wedding vase, signed on bottom: Harrison & Marie 1980. Wedding vases are objects created for more than just display; an entire ceremony is centered around the shared use of this traditional vessel, which preserves the sanctity of marriage. The wedding vase instantly becomes one of the most cherished items in the couple's life. "Harrison Begay Jr. was born in 1961 in the small Navajo town of Jeddito near Keams Canyon, Arizona. He is Navajo, Zuni (Water Edge Clan), Jemez (his father's clan), and Hopi (his maternal Grandfather was from Hopi. Harrison remembers making figures out of the clay from the Jeddito region when he was younger." "In college, Harrison trained as a painter. He later married Marie from the Santa Clara pueblo and moved there with her. Begay's signature pottery is a mix of different tribal traditions. He was taught the Santa Clara method of pottery making by his mother-in-law. However, his designs are a blend of Navajo and prehistoric petroglyph influences. His pieces are recognized as being highly polished and deeply carved". "Harrison is known as an innovative artist and multiple award winner, including at the Santa Fe Indian Market and the Heard Museum Fair. His work is represented in many galleries, museums, and private collections worldwide. He is proud of the fact that his son, Daniel, is also a talented and recognized potter as well". "Harrison warmly acknowledges the help and advice from Jody Naranjo, the Folwell family, Isabelle and Eugene Naranjo, as well as Lincoln and Judy Tafoya".? (Source: Garland's) Dimensions: 9 1/2"H x 6 1/4"W x 5 1/2"D
MEXICAN POTTERY FOLK ART FIGURE W/FACES & SHELLSMexican pottery folk art figure, topped with shell crown, holding shell staff, body adorned with faces, loss and restoration throughout, approx 19"h, 6"w, 4.75"d, 7lbs, **Provenance: From the estate of Dr. Jill Mutschler-Fontenot, PHD (1962-2017)** ***PLEASE NOTE: All of the Mexico folk art pottery pieces in this auction are inherently fragile. Most are likely to have repair, small breaks, chips, and imperfections. Please assume that they are not in perfect condition and bid accordingly. Per our terms, there will be no refunds based on condition.***
A Rare North or South Carolina “Colored Republicing Club” Stoneware Cooler
Dated July 7, 1892
in Southern alkaline glaze, with distinctive doubled collared rim, tooled body, two lug handles set low on the body of the jar and the neck inscribed in flowing script Colored Republicing [sic] Club July 7, 1892. Height 12 3/4 inches.
Likely made by an African American potter, perhaps trained in the Edgefield District of South Carolina.
At the time this cooler was made, the power of the Black Republican vote in the south and nationally was on the decline, and Reconstruction was a rapidly fading promise. In the South, Jim Crow was squarely in the headlights. In 1892, there were 161 lynchings of African Americans, the most recorded between the beginning of Reconstruction and World War II. In the face of near continual assaults on their right to vote, this cooler represents the continued hope and unfulfilled dreams of the more than 4 million formerly enslaved.
After the Civil War, white Southerners aligned themselves with the Democratic party, while African Americans chose their liberators, the Republicans. In post war North Carolina, for example, more than half the Republican Party were Freedmen. In both North and South Carolina, in the years immediately following the War, “Republican Clubs,” or “Union Leagues” were formed, and with suffrage, African Americans began to take on larger roles in local, state, and national politics. This new-found influence was short-lived as white Democrats in both states moved quickly to suppress the vote of blacks. The cooler offered here is symbolic of a period in Southern politics when African Americans became increasingly disenfranchised from the suffrage granted them by the 15th Amendment to the Constitution in 1870. Almost from the beginning of Reconstruction the National Republican party recognized the importance of the African American vote in the South and urged the formation of “colored clubs” as a means of communicating to the largely illiterate population of freedmen. The June 22, 1867, edition of the Raleigh, North Carolina Tri-Weekly Standard, for example, carried a front-page story urging African Americans “…to be so organized that you will act as one man, lest your enemy gain victory. You should organize Union Leagues and Republican Clubs.” Accompanying the article was a proposed Constitution for these clubs specifying that officers should be elected in January and July. An online search for “Republican Club,” “Colored Republican Club” and “Negro Republican Club” in North Carolina newspapers from the latter part of the 1860s until 1892 (the date of the cooler offered here) suggests such organizations were present in many portions of the state, including Hendersonville, Salisbury, New Bern, Wilmington, Raleigh, Greensboro, and Asheville. Based upon this sample, it is likely Republican Clubs were common statewide, in both large and smaller towns. A similar pattern is covered in the papers of South Carolina. Clubs were apparently present throughout the state, and in 1878 a “colored Republican club” boasted 1900 members. The date July 7, 1892, inscribed on the neck of the cooler offered here probably reflects a meeting where officers of the “Colored Republicans” were elected. Newspaper accounts from 1890 suggest that African Americans were still adhering to the Constitution first suggested in 1867. The Greensboro North State, for example, reported in the July 3, 1890, edition that the “Independent Republican Club, a negro organization formed in this city some time ago” will hold a “district convention sometime during the present month.” The July 30th edition of the Wilmington Morning Star reported that the First Ward Colored Republicans met on July 22 and “reorganized with a full slate of officers.”
By the time of the 1892 national election, the voting rights of African Americans throughout the South was under assault by whites in both the Democratic and Republican parties. Fear of “negro rule” gave way to the concept of “lily white” party membership, with the stated goal of disenfranchising Black voters in a majority of Dixie. Even nationally, the Republican party had begun to turn its back on Freedmen. At the National convention held in Minneapolis in June, Black delegates from Alabama were not seated in favor of an all-white delegation. The 100 African American delegates to the convention could not even manage to have a resolution renouncing lynching adopted in the party platform (Nathanson, 2008). Alkaline-glazed stoneware is a uniquely Southern product. Small quantities of it were produced in southwestern Virginia and Tennessee. More of it was made in North Carolina – particularly in the state’s Catawba Valley region and mountainous Buncombe County near Asheville – and in South Carolina’s Edgefield District and other locales. Alkaline glazes were also employed in Georgia, Alabama, Florida, and Texas. Regardless of its maker, the cooler’s alkaline glaze clearly identifies it as the product of a Southern potter. The Republican affiliation expressed on the shoulder suggests the potter was an African American. The water cooler’s double rim, or collar, may be its most telling feature. Rarely seen on North Carolina alkaline-glazed stoneware jars, it is frequently found on vessels associated with South Carolina’s Edgefield District – or those potters who were trained in the District. Double collars routinely appear on vessels produced by the enslaved Edgefield potter Dave Drake and turners at the Lewis Miles, Collin Rhodes and B.F. Landrum potteries. At the northern edge of the district near Kirksey’s Crossroads, similar rims were produced at the Chandler potteries. Both white and black potters worked at each of these potteries, with white itinerants probably moving freely between them. At the end of the Civil War, this pattern was likely accelerated as Freedmen left their bondsmen and struck off on their own either to work as paid laborers or to start their own potteries, taking the technique with them. The double rim, for example, is found on wares made by Edgefield-born and trained Texas potter, John Leopard. South Carolina-trained potter, T. B. Odom, added double rims to his jars made in Florida at his Knox Hill pottery and later at his pottery in Upshur County, Texas. Similar rims are found on jars produced at South Carolina’s Bodie pottery. Bodie potters made “well-formed ovoid jars, churns, and storage jars and unusual forms such as flasks and figural bottles … Bodie jars typically [had] two opposing horizontal slab handles and a collared neck with a flared rim.” (Baldwin 1993:104). In 1870, Bodie employed at least two freed black potters, Lee Rodgers and Shep Davis. After the War, Lewis Miles leased one of his Edgefield potteries to three of his former slaves, namely Willis Harrison, Pharaoh Jones, and Mark Miles. (Todd 2008:NP) Others, like Scott and Moss Miles, who may have been Lewis Miles’ former slaves, reportedly worked at the B.F. Landrum pottery. Freed slaves Peter and Oliver Miles may have worked at the Seigler pottery shop. (Horne 1990:80). Former slave Josh Miles owned and operated an Edgefield pottery – perhaps the only one of its kind. (Horne 1990:81) Other black South Carolina potters known to have continued producing wares following emancipation include Jack Thurman, Milage Williams, and Thomas Jones. Ben Landrum’s shop remained in operation until 1902 when it closed due to the fact that his old turners had died. (Baldwin 1993:97) To the north, the interplay between Edgefield and North Carolina potters producing alkaline glazed ware began early, with potters arriving in the Buncombe County area via the Saluda Gap Road as early as the 1820s. In the Piedmont, the concept of alkaline glaze may have been introduced in the Lincoln and Catawba counties by Edgefield-trained potters as early as the 1840s (Baldwin 1993:62-63). Given this evidence, we suggest that the cooler might have been made by a potter trained in Edgefield. The shape and distinctive body tooling, however, is unique, and as far as we have been able to determine, previously not recorded in either South or North Carolina stoneware. It is basically a modified keg shape, replete with tooling to represent the cane binding. Baldwin (1993:175) reports that both small and large kegs were made in North Carolina. Sylvanus Hartsoe of Catawba County made alkaline glazed kegs, and they appear to have been made at the Jugtown pottery of John Leonard Atkins in Greenville County, South Carolina where the form was probably introduced from North Carolina. Based upon these observations, we suggest that the cooler was made in the Piedmont or Western Mountains of North Carolina, or in South Carolina’s Jugtown area, or elsewhere in the upstate part of that state. Hindman is grateful for the contribution to this description by North Carolina ceramic scholar Stephen Compton.
References Cited
Baldwin, Cinda K. 1993. Great and Noble Jar: Traditional Stoneware of South Carolina. The University of Georgia Press.
Horne, Catherine Wilson, ed. 1990. Crossroads of Clay: The Southern Alkaline-glazed Stoneware Tradition. Columbia, S.C.: McKissick Museum, University of South Carolina
Nathanson, Iric. 2008. “African Americans and the 1892 Republican National Convention.” Minnesota History, 61(2):76-82.
Todd, Leonard. 2008. Carolina Clay: The Life and Legend of the Slave Potter Dave (New York: W. W. Norton & Company, 2008), NP.
Pottery and porcelain table and wall items to include (3) Haldon Group floral pottery tea serving including pot, creamer and sugar, Meakin Windsong pottery tray, a Gibus & Redon, Limoges porcelain wall pocket with bird and berry decoration, repairs to butterfly, 9 1/2"H, Casafina blue splatter decorated pottery plates, 10 3/4" dia, Swedish white glazed pottery cachepot, 4 7/8" H x 5 1/2"W, an Italian pottery planter, an Italian pottery cachepot, 3 1/2"H, (13) piece Coq de Strasbourg Sigma the tasteseller Italian pottery plates, platter and serving bowl, a MMA reproduction Limoges pineapple cup along with a pair of blue and gilt decorated cachepots, 7 7/8" dia., teapot with chip inside
DESIGNED BY J. W. BROOKS GLAZED POTTERY OIL LAMP BASE, CONVERTED , H: 14 1/2 IN. (36.8 CM.)Designed by J. W. Brooks Glazed Pottery Oil Lamp Base, Converted ,, Dimensions: H: 14 1/2 in. (36.8 cm.)
Two Beswick dogs - St. Bernard 'Corna Garth Stroller', gloss, no.2221 and Alsatian 'Ulrica of Brittas', no.969, to/w a glazed pottery yellow Labrador (3)
A Doulton Pottery floral-painted biscuit barrel with plated cover, collar and handle, to/w a Poole Pottery cigarette box and ashtray (3)
Picasso Pitcher w/Owlby Madoura Pottery.Condition: Minor glaze nick along bottom.Dimensions: Ht. 10''Provenance: Private Geneseo Family.E
CONTEMPORARY POTTERY SCULPTURE, H 21", W 13" CONTEMPORARY POTTERY SCULPTURE, H 21", W 13":Unsigned. 21 1/2" H. actual size.
THREE 19TH C. MEXICAN POTTERY CANDLE HOLDERS W/ SAINTSNorth America, Mexico, Oaxaca, Santa Maria Atzompa, ca. 19th century CE. A marvelous trio of hollow pottery candle holders, each boasting elaborate decoration and a rich emerald-hued glaze. Nearly identical in form, each of these beautiful candle holders presents a columnar body with a tall, tiered stem, a projecting knop, and a flared sconce over a deep basin for placing a candle, all supported by 3 feet and boasting relief decoration of grapes, flowers, and 3 saints. Perhaps slightly older than the others, one of the candle holders showcases additional applied clay decorations of leaves and floral motifs, as well as a coat of glaze on the interior of the sconce. These sizeable examples all possess magnificent presentations; sure to impress at your next dinner party! Size of each (all are relatively similar): 9.2" W x 16" H (23.4 cm x 40.6 cm)
Green glazed pottery, like these examples, are a traditional style of pottery that originates in the Oaxaca, Mexico town of Santa Maria Atzompa. While Atzompa's pottery tradition extends to the 7th century, the lead monoxide glaze that creates the vibrant green color was not introduced until after the Spanish conquest. Today, about 90% of the population of Atzompa is dedicated to making pottery, making it the basis of the town's economy.
Provenance: ex-private Moore collection, Denver, Colorado, USA, acquired prior to 1990
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#152171
Condition:
All are still functional. Candle holder with applied details has repair to base with break lines visible and losses to rim and petal of 1 applied flower. All have expected chips, nicks, abrasions, and remains of candles and wax, all commensurate with age and use. Otherwise, all are excellent with nice pigments.
(ENGLISH AND OTHER POTTERY PORCELAIN) Seventeen books. 1) Halsey, R.T.H., Pictures of Early New York on Dark Blue Staffordshire Pottery. 2) Ormsbee, T.H., English China and Its Marks. 3) Paul, E. & Petersen, A., Collectors' Handbook to Marks on Pottery and Porcelain . 4) Thorn, C., Handbook of Old Pottery & Porcelain Marks.. 5) Hughes, G., English Pottery & Porcelain Figures. 6) Arman, D. & L., Historical Staffordshire, Illustrated Check-List. 7) Godden, G., The Handbook of British Pottery & Porcelain Marks. 8) Kovel, R. & T., Dictionary of Marks - Pottery & Porcelain .. 9) Chaffers, W.M., Collectors' Handbook of Marks & Monograms on Pottery & Porcelain.. 10) Cushion, J.P., Pocketbook of English Ceramic Marks. 11) Gorely, J., Wedgwood. 12) Bedford, J., Wedgwood Jasperware. 13) Klamkin, M., The Collector's Book of Wedgwood. 14) Kelly, A., The Story of Wedgwood.. 15) Fisher, S., Worcester Porcelain. 16) Wakefield, H., Victorian Pottery. 17) Reilly, R., Wedgwood Jasper.
A Rare North or South Carolina “Colored Republicing Club” Stoneware Cooler
Dated July 7, 1892
in Southern alkaline glaze, with distinctive doubled collared rim, tooled body, two lug handles set low on the body of the jar and the neck inscribed in flowing script Colored Republicing [sic] Club July 7, 1892. Height 12 3/4 inches.
Likely made by an African American potter, perhaps trained in the Edgefield District of South Carolina.
At the time this cooler was made, the power of the Black Republican vote in the south and nationally was on the decline, and Reconstruction was a rapidly fading promise. In the South, Jim Crow was squarely in the headlights. In 1892, there were 161 lynchings of African Americans, the most recorded between the beginning of Reconstruction and World War II. In the face of near continual assaults on their right to vote, this cooler represents the continued hope and unfulfilled dreams of the more than 4 million formerly enslaved.
After the Civil War, white Southerners aligned themselves with the Democratic party, while African Americans chose their liberators, the Republicans. In post war North Carolina, for example, more than half the Republican Party were Freedmen. In both North and South Carolina, in the years immediately following the War, “Republican Clubs,” or “Union Leagues” were formed, and with suffrage, African Americans began to take on larger roles in local, state, and national politics. This new-found influence was short-lived as white Democrats in both states moved quickly to suppress the vote of blacks. The cooler offered here is symbolic of a period in Southern politics when African Americans became increasingly disenfranchised from the suffrage granted them by the 15th Amendment to the Constitution in 1870. Almost from the beginning of Reconstruction the National Republican party recognized the importance of the African American vote in the South and urged the formation of “colored clubs” as a means of communicating to the largely illiterate population of freedmen. The June 22, 1867, edition of the Raleigh, North Carolina Tri-Weekly Standard, for example, carried a front-page story urging African Americans “…to be so organized that you will act as one man, lest your enemy gain victory. You should organize Union Leagues and Republican Clubs.” Accompanying the article was a proposed Constitution for these clubs specifying that officers should be elected in January and July. An online search for “Republican Club,” “Colored Republican Club” and “Negro Republican Club” in North Carolina newspapers from the latter part of the 1860s until 1892 (the date of the cooler offered here) suggests such organizations were present in many portions of the state, including Hendersonville, Salisbury, New Bern, Wilmington, Raleigh, Greensboro, and Asheville. Based upon this sample, it is likely Republican Clubs were common statewide, in both large and smaller towns. A similar pattern is covered in the papers of South Carolina. Clubs were apparently present throughout the state, and in 1878 a “colored Republican club” boasted 1900 members. The date July 7, 1892, inscribed on the neck of the cooler offered here probably reflects a meeting where officers of the “Colored Republicans” were elected. Newspaper accounts from 1890 suggest that African Americans were still adhering to the Constitution first suggested in 1867. The Greensboro North State, for example, reported in the July 3, 1890, edition that the “Independent Republican Club, a negro organization formed in this city some time ago” will hold a “district convention sometime during the present month.” The July 30th edition of the Wilmington Morning Star reported that the First Ward Colored Republicans met on July 22 and “reorganized with a full slate of officers.”
By the time of the 1892 national election, the voting rights of African Americans throughout the South was under assault by whites in both the Democratic and Republican parties. Fear of “negro rule” gave way to the concept of “lily white” party membership, with the stated goal of disenfranchising Black voters in a majority of Dixie. Even nationally, the Republican party had begun to turn its back on Freedmen. At the National convention held in Minneapolis in June, Black delegates from Alabama were not seated in favor of an all-white delegation. The 100 African American delegates to the convention could not even manage to have a resolution renouncing lynching adopted in the party platform (Nathanson, 2008). Alkaline-glazed stoneware is a uniquely Southern product. Small quantities of it were produced in southwestern Virginia and Tennessee. More of it was made in North Carolina – particularly in the state’s Catawba Valley region and mountainous Buncombe County near Asheville – and in South Carolina’s Edgefield District and other locales. Alkaline glazes were also employed in Georgia, Alabama, Florida, and Texas. Regardless of its maker, the cooler’s alkaline glaze clearly identifies it as the product of a Southern potter. The Republican affiliation expressed on the shoulder suggests the potter was an African American. The water cooler’s double rim, or collar, may be its most telling feature. Rarely seen on North Carolina alkaline-glazed stoneware jars, it is frequently found on vessels associated with South Carolina’s Edgefield District – or those potters who were trained in the District. Double collars routinely appear on vessels produced by the enslaved Edgefield potter Dave Drake and turners at the Lewis Miles, Collin Rhodes and B.F. Landrum potteries. At the northern edge of the district near Kirksey’s Crossroads, similar rims were produced at the Chandler potteries. Both white and black potters worked at each of these potteries, with white itinerants probably moving freely between them. At the end of the Civil War, this pattern was likely accelerated as Freedmen left their bondsmen and struck off on their own either to work as paid laborers or to start their own potteries, taking the technique with them. The double rim, for example, is found on wares made by Edgefield-born and trained Texas potter, John Leopard. South Carolina-trained potter, T. B. Odom, added double rims to his jars made in Florida at his Knox Hill pottery and later at his pottery in Upshur County, Texas. Similar rims are found on jars produced at South Carolina’s Bodie pottery. Bodie potters made “well-formed ovoid jars, churns, and storage jars and unusual forms such as flasks and figural bottles … Bodie jars typically [had] two opposing horizontal slab handles and a collared neck with a flared rim.” (Baldwin 1993:104). In 1870, Bodie employed at least two freed black potters, Lee Rodgers and Shep Davis. After the War, Lewis Miles leased one of his Edgefield potteries to three of his former slaves, namely Willis Harrison, Pharaoh Jones, and Mark Miles. (Todd 2008:NP) Others, like Scott and Moss Miles, who may have been Lewis Miles’ former slaves, reportedly worked at the B.F. Landrum pottery. Freed slaves Peter and Oliver Miles may have worked at the Seigler pottery shop. (Horne 1990:80). Former slave Josh Miles owned and operated an Edgefield pottery – perhaps the only one of its kind. (Horne 1990:81) Other black South Carolina potters known to have continued producing wares following emancipation include Jack Thurman, Milage Williams, and Thomas Jones. Ben Landrum’s shop remained in operation until 1902 when it closed due to the fact that his old turners had died. (Baldwin 1993:97) To the north, the interplay between Edgefield and North Carolina potters producing alkaline glazed ware began early, with potters arriving in the Buncombe County area via the Saluda Gap Road as early as the 1820s. In the Piedmont, the concept of alkaline glaze may have been introduced in the Lincoln and Catawba counties by Edgefield-trained potters as early as the 1840s (Baldwin 1993:62-63). Given this evidence, we suggest that the cooler might have been made by a potter trained in Edgefield. The shape and distinctive body tooling, however, is unique, and as far as we have been able to determine, previously not recorded in either South or North Carolina stoneware. It is basically a modified keg shape, replete with tooling to represent the cane binding. Baldwin (1993:175) reports that both small and large kegs were made in North Carolina. Sylvanus Hartsoe of Catawba County made alkaline glazed kegs, and they appear to have been made at the Jugtown pottery of John Leonard Atkins in Greenville County, South Carolina where the form was probably introduced from North Carolina. Based upon these observations, we suggest that the cooler was made in the Piedmont or Western Mountains of North Carolina, or in South Carolina’s Jugtown area, or elsewhere in the upstate part of that state. Hindman is grateful for the contribution to this description by North Carolina ceramic scholar Stephen Compton.
References Cited
Baldwin, Cinda K. 1993. Great and Noble Jar: Traditional Stoneware of South Carolina. The University of Georgia Press.
Horne, Catherine Wilson, ed. 1990. Crossroads of Clay: The Southern Alkaline-glazed Stoneware Tradition. Columbia, S.C.: McKissick Museum, University of South Carolina
Nathanson, Iric. 2008. “African Americans and the 1892 Republican National Convention.” Minnesota History, 61(2):76-82.
Todd, Leonard. 2008. Carolina Clay: The Life and Legend of the Slave Potter Dave (New York: W. W. Norton & Company, 2008), NP.
4 Middle TN Stoneware Jars and Vases Middle TN stoneware pottery jar and vases, 4 items total. 1st item: Stoneware pottery jar with double strap handles, salt deposits/drip on one handle, slightly flaring neck, and wide footed base. Brown/tan/brown transition glaze with terminals of handles in the shape of a distinctive "V". 8" H x 6 1/4" W. 2nd item: Stoneware pottery vase with crimped edge and light grey/brown glaze. 6 1/2" H x 4 1/2" W. 3rd item: Stoneware pottery jar with flared neck, light incised line under rim edge, and brown/tan/brown transition glaze. 7" H x 4 1/4" W. 4th item: Stoneware pottery vase with bulbous tapering body, double collared neck, and footed base with light grey glaze. 9" H x 5 1/4" W. All items late 19th/early 20th century. Provenance: Private Warren County, TN collection. (Higher-resolution photos are available at www.caseantiques.com)
BENNINGTON FLINT ENAMEL LIDDED SOAP DISH. Vermont, ca. 1849-1858. Alternate rib with berry rim. Green and amber accents. Impressed mark, fig. IXa. Minor edge flakes. 5"h. 5.5"w. See Bennington Pottery and Porcelain by Barret, pg. 117.
Two small blackware pottery items, Late 20th Century Two works: Paul Joseph "Speckled Rock" Tafoya (1952-2017, Tewa/Santa Clara Pueblo) A sgraffito blackware pottery "rock" seed pot with roses and butterflies Signed to base: Speckled Rock [conjoined] / '84 / 0310 B 2.5" H x 3.125' W A blackware pottery bear fetish with stone-set eyes and white feathers Marked: RG [conjoined, with pictograph] 2.375" H x 5.625" W; 4.25" H with feathers 2 pieces
4 MIDDLE TN STONEWARE JARS AND VASESMiddle TN stoneware pottery jar and vases, 4 items total. 1st item: Stoneware pottery jar with double strap handles, salt deposits/drip on one handle, slightly flaring neck, and wide footed base. Brown/tan/brown transition glaze with terminals of handles in the shape of a distinctive "V". 8" H x 6 1/4" W. 2nd item: Stoneware pottery vase with crimped edge and light grey/brown glaze. 6 1/2" H x 4 1/2" W. 3rd item: Stoneware pottery jar with flared neck, light incised line under rim edge, and brown/tan/brown transition glaze. 7" H x 4 1/4" W. 4th item: Stoneware pottery vase with bulbous tapering body, double collared neck, and footed base with light grey glaze. 9" H x 5 1/4" W. All items late 19th/early 20th century. Provenance: Private Warren County, TN collection. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
1st item: Overall good condition. 2nd item: Minute black spots, scattered on surface of vase. 3rd item: Scattered firing flaws, largest 7/8", surface of vase. Minute black spots, scattered on surface of vase. 4th item: 2" area of repair, footed base. 1/4" chip, surface of body.
WILLIAM MCKINLEY P.W. WILUCKI ART POTTERY TILESigned with a tattered paper label on the back.Measures 3 inches.Very good condition, noting crazing in the glaze.
A.W. BUCHAN PORTOBELLO POTTERY STONEWARE COOLER. Molded and glazed stoneware cooler with lug handles in the form of a stave constructed wooden keg. With a biscuit toned glaze. Embossed ''Thomson & Gillespie / Edinburgh'' and ''A.W. Buchan & Co. / Portobello / Pottery''. The base with spigot hole and cork. 17 1/2'' h. Alexander Buchan and Thomas Murray purchased a pottery operation in Portobello Edinburgh in 1867. The business became known as ''A.W. Buchan & Co.'' in 1882. They produced stoneware storage vessels and containers. Signs of use and wear top with some chips and flakes.
3 PC. ASSORTMENT OF ACOMA POTTERYAcoma Pueblo, New Mexico earthenware clay pottery, small pitcher with hand painted geometric designs, measuring 4.5"H x 3.5"W x 2.5"D. A twisted handle double mouth vessel signed on the bottom 'M. Brown Acoma NM' measuring 4.5"L x 4.5"H x 2.25"W. An Acoma pottery jar with birds and geometric designs measuring 4 7/8"H x 6.5"W.
Large Japanese Jomon Pottery Vessel w/ TL Test: East Asia, Japan, Jomon Period, ca. 14, 000 to 300 BCE, coming with a TL Report showing it was fired/ produced around 4, 000 years ago. A considerable hand-built terracotta vessel of a sprouting form with a flat base, the exterior walls impressed with an uneven and non-linear corrugated pattern made by pressing a cord onto the wet clay before firing; hence the term "jomon" which translates to "cord pattern. " The large, upturned rim flares outward relative to its folded rim and sweeping decorated bands. According to the Metropolitan Museum of Art's Heilbrunn Timeline essay, "They (potters of the Incipient Period) produced deep pottery cooking containers with pointed bottoms and rudimentary cord markings - among the oldest examples of pottery known in the world. " This vessel may date to the early or the late Jomon period given the relatively simplistic decorations, as those of the middle period were complex in their decorative aspect. Size: 9" W x 12" H (22. 9 cm x 30. 5 cm). . The ancient Japanese Jomon Period is known for its distinctive pottery tradition that set it apart from the Paleolithic Age. Jomon pottery vessels are among the oldest in the world and typically present rope- or cord-like impressed decoration. Since no kilns have been excavated from the Jomon period, it is believed that the ancients fired these vessels in open fires. . According to the Metropolitan Museum of Art's Heilbrunn Timeline essay, "All Jomon pots were made by hand, without the aid of a wheel, the potter building up the vessel from the bottom with coil upon coil of soft clay. As in all other Neolithic cultures, women produced these early potteries. The clay was mixed with a variety of adhesive materials, including mica, lead, fibers, and crushed shells. After the vessel was formed, tools were employed to smooth both the outer and interior surfaces. When completely dry, it was fired in an outdoor bonfire at a temperature of no more than about 900° C. ". . This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full report will accompany purchase. . This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques. . . Provenance: ex-private Chicago, Illinois, USA collection. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #164414 Condition Repaired from perhaps 8 to 10 large pieces but amazingly complete for a Jomon vessel! TL drill holes beneath base and inside of one rim tab.
HARDING BLACK, TEAL W/ BLACK ART POTTERY BOWL 1960 Harding Black (American 1912)-2004), teal with wavy black stripes Art Pottery bowl, 1960, rising on a circular foot, signed and dated underneath. Approximate measurements: h. 2. 75", dia. 7. 90".
Eight (8) Pottery Lovers Commemorative Pieces left blue paper weight reads Pottery Festival 1990 25 Years reverse marked (hand incised) 36 Pottery Peregrinators excellent condition 3.25''w. butterfly magnet reads Pottery Lovers Zanesville 84 reverse signed (hand script) DEB two tiny chips on the tips of wings 2.75''w. basket weave bowl reads Pottery Lovers bottom marked (die impressed) Ohio outline USA with (hand script) blue 2001 mint condition 4.5''w. spoon reads Pottery Lovers 2000 marked Buckeye Stoneware Zanes. Ohio in black ink stamp mint condition 7.25''w. shot glass reads Zanesville Ohio marked Alpine Pottery Ohio 1995 Roseville mint condition 1.75''h. handled mug reads Y Bridge City Zanesville Oh. and Pottery Lovers 1999 on the reverse marked Buckeye Stoneware Zanesville Ohio all in black ink stamp mint condition 4''h. bowl reads Pottery Lovers 2003 marked Buckeye Stoneware Zanesville Ohio in black ink stamp excellent condition 7''w. blended glaze banded vase marked (die impressed) Pottery Lovers 2009 including turtle makers mark with (hand script) 5/15 mint condition 4.5''h.
TWO SMALL BLACKWARE POTTERY ITEMSTwo small blackware pottery items, Late 20th Century Two works: Paul Joseph "Speckled Rock" Tafoya (1952-2017, Tewa/Santa Clara Pueblo) A sgraffito blackware pottery "rock" seed pot with roses and butterflies Signed to base: Speckled Rock [conjoined] / '84 / 0310 B 2.5" H x 3.125' W A blackware pottery bear fetish with stone-set eyes and white feathers Marked: RG [conjoined, with pictograph] 2.375" H x 5.625" W; 4.25" H with feathers 2 pieces
2 PC. CHINESE SONG DYNASTY POTTERY VASE & SAUCER: 2 PC. CHINESE SONG DYNASTY POTTERY VASE & SAUCER: Small glazed tea bowl in gray off-white. Approx. 1.25'' h x 4.75'' w. Along with pottery jarlet having a fine crackle glaze. Unglazed at the base. Approx. 3'' h x 4'' w.
CONDITION: Wear commensurate with age and use.
Gatty (Mrs Alfred), Book of Sundials
1889, Green (Arthur Robert), Sundials 1926, Bough (Sam RSA) Some account of his life and works 1905 and Knowles (W. Pitcairn) Dutch Pottery and Porcelain (4)
Signed & Unsigned Rainbow Pottery & JB Cole, Four baskets: yellow (att. JB Cole, unsigned) H 11" W 7-3/4", green (signed Rainbow Pottery) H 7" W 7", blue (unsigned Rainbow Pottery) H 6-1/2" W 6-1/2", maroon (unsigned Rainbow Pottery) H 6" W 6-1/2"Excellent conditionEverette James
SHADOWBOX W/ SOUTH AMERICAN POTTERY FRAGMENTS Sixteen South American pottery pieces, some with impressed patterns including two cylinders rollers, and two figural pieces, all in a gilt frame shadowbox with an acrylic top. Provenance: From the Private Collection of Vernon Harris, Cumming, Georgia. Shadow box approx. h. 4". sq. 21.5".
2 MIDDLE TN STONEWARE JARS, J.A. ROBERTS & LAFEVER1st item: Large J.A. Roberts Middle Tennessee stoneware pottery 10-gallon jar, having two lug handles; rare cobalt decoration including a "X", denoting capacity, flanked by floral sprigs below the rim; and stamped "J. A. ROBERTS POTTERY" along the lower body. 19" H x 12 1/2" W. Late 19th/early 20th century. Biography: Originally born in NC, Roberts learned the pottery trade from his father. He became an active potter in the Cookeville, TN area by the early 1870's and continued potting until after 1900. (Research courtesy of Carole Wahler). 2nd item: Middle Tennessee stoneware pottery jar with light olive to brown glaze, having lug handles, incised "4" denoting gallon capacity, and incised line extending around the circumference of the shoulder. Attributed to the Lafever pottery of Middle Tennessee. 14 3/4" H x 10" W. Late 19th/early 20th century. Note: For similar jars with similar gallon capacity script refer to page 80, figure 15 of "A Survey of Historic Pottery Making In Tennessee 1979", Division of Archaeology, Tennessee Department of Conservation.
Condition:
1st item: Some scattered areas firing imperfections to the body and slight "dimple" to body, in the making and a couple of shallow chips to the inner rim. Light hairline to the outside base not visible from the inside of the jar. 2nd item: Shallow chip to rim, some chipping to one lug handle, crack to one side, approx. 5 1/2" L.
A collection of Asian art reference books
Hardcover books including:
Barilli, Renato. Art Nouveau. 1969; Brown, Claudia ad Chou Ju-hsi The Elegant Brush: Chinese Painting Under the Qianlong Emperor 1735-1795. 1985; Bussagli, Mario. Chinese Bronzes. 1969; Bussagli, Mario. Chinese Painting. 1969; Burling, Judith and Arthur Hart. Chinese Art.; Cahill, James. Treasure of Asia: Chinese Painting.1960; Chu, Arthur and Grace. Oriental Antiques and Collectables, A Guide. 1973; Denny, Walter B. The Smithsonian Illustrated Library of Antiques: Oriental Rugs. 1979; Donnelly, P.J. Blanc de Chine. 1969; Far East Fine Arts. Inc The Four Jens. 1977; Fourcade, Francois. Art Treasure of the Peking Museum.; Grebanier, Joseph. Chinese Stoneware Glazes. 1975; Hart, Henry. Seven Hundred Chinese Proverbs. 1945; Kotz, Suzanne. Imperial Taste. Chinese Ceramics from the Percival David Foundation ,1989; Lee, Sherman E. A History of Far Eastern Art.; Lefebvre d’Argence, Rene-Yvon. Chinese Treasures from the Avery Brundage Collection. 1968; Lin Yutang, Imperial Chinese Art. 1983; Lion-Goldschmidt, Daisy. i>Chinese Art: Bronze, Jade, Sculpture, Ceramics. 1966; Luzzato-Bilitz, Oscar. Oriental Lacquers. 1969; Luzzatto-Bilitz, Oscar. Antique Jade. 1969; Medley, Margaret. The Chinese Potter. 1976; Reed, Stanley. All Color Book of Oriental Carpets and Rug. 1972; Royal Ontario Museum. Chinese Art. 1972; Smith, Bradley and Wan-go Weng. China: A History in Art.; Taiwan National Palace Museum, Masterpieces of Chinese Album Painting in the National Palace Museum (6 volumes); Thiel, Albert W. R. Chinese Pottery and Stoneware. 1953; Valenstein, Suzanne G. A Handbook of Chinese Ceramics. 1975; Zhiyu, Shen. The Shanghai Museum of Art. 1981.
Paperback Books including: Pal, Pratapaditya. The Sensuous Immortals. 1978; The Exhibition of Archaeological Finds of The People’s Republic of China. 1975; Oriental Art: quarterly publication devoted to all forms of oriental art. Vol. XXV No. 1, Spring 1979; Hong Kong Museum of Art. Yixing Pottery. 1981; Parke-Bernet Galleries. Oriental Art. 1971; International Exhibitions Foundation. The Work of Tomioka Tessai. 1969; Lefebvre D’Argence, Rene-Yvon. Chinese Ceramics in the Avery Brundage Collection 1967; Sotheby Parke-Bernet Inc. Chinese Paintings, Textiles, Snuff Bottles, Ceramics and Works of Art. 1979; Avery Brundage Foundation. The Fascinations of Asian Arts. 1970; Sotheby Parke Bernet (Hong Kong) Ltd. Important Chinese Ceramics and Works of Art.; 1978; Yee, Chiang. Chinese Calligraphy: An Introduction to Its Aesthetic and Technique. 1973; Sullivan, Michael. A Short History of Chinese Art. 1970;
Watson, William. Ancient China: The Discoveries of Post Liberation Archaeology. 1974; Phoenix Art Museum. Chinese Ceramics The Wong Collection. 1982; Sze, Mai-mai. The Way of Chinese Painting: Its Ideas and Technique. 1959; Hobson, R.L. Chinese Pottery and Porcelain. 1976; Jenyns, Soame R. Chinese Art II. 1966; Jenyns, Soame R. Chinese Art III. 1981; National Endowment for the Humanities. The Chinese Exhibition: A pictorial record of the Exhibition of Archaeological Finds of The People’s Republic of China. 1975; Lefebvre D’Argence, Rene-Yvon. Chinese Jades in the Avery Brundage Collection. 1972; Lefebvre D’Argence, Rene-Yvon. Ancient Chinese Bronzes in the Avery Brundage Collection. 1966; Brown, Claudia and Ronald D. Hickman. Chinese Cloisonne: The Clague Collection. 1980; Riely, Celia Carrington. Chinese Art: from the Cloud Sampler and other Collections in the Everson Museum.1968; AntikWest. Chinese Pottery and Porcelain. 1985; Smithsonian Institution. Renaissance of Islam: Art of the Mamluks. 1981; Chow, Fong. Oriental Art. 1975;Anita Siu, Wai-fong. The Modern Spirit in Chinese Painting. 1985; National Gallery of Art. The Chinese Exhibition: An Illustrated Handlist of the Exhibition of Archaeological Finds of The People’s Republic of China. 1975; Spink & Son Ltd. The Minor Arts of China III. 1987; Phoenix Art Museum. Heritage of the Brush: The Roy and Marilyn Papp Collection of Chinese Painting. 1989; Tucson Museum of Art. Tucson Collects: The Year of the Snake/The Year of the Horse. 1978; Exhibition of Ancient Bronzes of the People’s Republic of China (in Chinese). Japan, 1976; Hobson, R.L., & A.L Hetherington. The Art of the Chinese Potter. 1982; Lefebvre d’Argence, Rene-Yvon. The Hans Popper Collection of Oriental Art. 1973; Brown, Claudia and Donald Rabiner. Chinese Glass of the Qing Dynasty 1644-1911. 1987; Sotheby Parke Bernet. Oriental Works of Art. 1975; Spence, Jonathan D. Emperor of China: Self-Portrait of K’Ang-Hsi. 1975; Lawton, Thomas. Chinese Figure Painting. 1973; Capon, Edmund. Art and Archaeology in China. 1977.
Lot of 24 Native American Calusa Pottery Shards: Native American, Southeastern United States, Florida, Marco Island, Calusa / Glades culture, ca. 500 CE to 1750 CE. An interesting group of 24 pottery shards from coastal Native American tribes. The shards are various sizes, and a few contain drilled holes through them. The pottery of the Glades people was decorated with incised lines and punctures using wood or shell tools, as seen with these pieces. Most of what we know of the Everglades cultures is pieced together from their pottery. Included are some identifiable types, such as Fort Drum Incised, Plantation Pinched, Miami Incised, Glades Tooled, and St. John's Check Stamped. Pottery from the south Florida region was made with sand tempering for durability. Size of case: 16. 25" L x 1" W x 12. 25" H (41. 3 cm x 2. 5 cm x 31. 1 cm); largest shard: 2" L x 2. 75" W (5. 1 cm x 7 cm); smallest: . 8" L x . 75" W (2 cm x 1. 9 cm) . . Provenance: private Fayetteville, Arkansas, USA collection; ex-Charles (Charlie) Meyer collection, noted collector and famed illustrator for Greg Perino, famed authenticator and writer. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #163464 Condition Fragments of larger pieces as shown. Lower left shard repaired from two pieces with visible adhesive residue. Some have old inventory labels and/or find site written on surfaces. Light mineral deposits. Displayed in a Riker case.
* A Collection of Reference Materials on Chinese Art comprising Jenyns Soame Ming Pottery and Porcelain London 1953; Jenyns Soame Later Chinese Porcelain London 1960; Thiel A.W.R. Chinese Pottery and Stoneware New York; Nott Stanley Charles Chinese Jade Throughout the Ages Tokyo 1962; Ming Porcelains in the Freer Gallery of Art Smithsonian Institution.
Lewis Weston Dillwyn BRITISH CONFERVAE OR COLORED FIGURES & DESCRIPTIONS OF BRITISH PLANTS 1809 Antique Botany Plates Title: British Confervae; Or Colored Figures and Descriptions of the British Plants Referred by Botanists to the Genus ConfervaAuthor: Lewis Weston Dillwyn - Lewis Weston Dillwyn, FRS was a British porcelain manufacturer, naturalist and Member of Parliament.He was born in Walthamstow, Essex, the eldest son of William Dillwyn (1743–1824) and Sarah Dillwyn (née Weston). His father, a Pennsylvanian Quaker had returned to Britain in 1777 during Philadelphia's worst period in the American War of Independence and settled at Higham Lodge, Walthamstow, Essex, UK. William Dillwyn was a vociferous anti-slavery campaigner and toured England and South Wales in his work for the Anti-Slavery Committee. William Dillwyn was related to George Haynes through the Emlen and Physick families in Philadelphia and it is likely that the opportunity to buy the Cambrian Pottery, Swansea, Glamorganshire from him came about through these family connections in America.William's letters to his daughter Suzanna are held by the Library Company in Philadelphia and stored at the Historical Society of Pennsylvania. These letters show that the factory was bought by William to keep Lewis active while the latter was suffering from gout. The highlight of this period of production of Swansea Pottery was the opening by Lewis Weston Dillwyn and George Haynes of the Cambrian Company, the Swansea Potteries London Warehouse on Fleet Street which operated between 1806-1807. In 1814 the pottery took over the workforce of the Nantgarw Pottery and began to make porcelain.Lewis Weston Dillwyn however was also renowned for his published works on botany and conchology, including his 1809 work "The British Confervae," an illustrated study of British freshwater algae. Dillwyn is credited with discovering several species of the Conferva genus. Among the botanical illustrators of "The British Confervae" are the artists William Jackson Hooker, Ellen Hutchins and William Weston Young. He was elected in 1804 as a Fellow of the Royal Society.In 1817 he temporarily retired from the pottery. In 1818 he became High Sheriff of Glamorgan and was elected to the First Reformed Parliament in 1834 as MP for Glamorganshire. He bought Sketty Hall near Swansea and was elected Mayor of Swansea in 1839. Dillwyn was also one of the founders of the Royal Institution of South Wales and its first President, and in 1840 he published a short history of Swansea. (Information courtesy of Wikipedia)Publisher: Printed and sold by W. PhillipsCity: LondonYear: 1809Binding Style: HardcoverPagination: 87, [210] pages, [116] leaves of color platesWidth: 9" Height: 11"Book Details: This is a rare early work on algae.Condition / Notes: This antique volume has been rebound in modern ostrich-skin (?), with spine in five compartments with raised bands, and a gilt-lettered red leather label in the second. The spine cover is detaching at the rear edge. The book is solidly bound, with marbled endpapers. A previous owner's stamp appears on a blank page at the rear of the volume. The pages and plates sporadically exhibit very light foxing. This work contains 115 (of 116) engraved plates only, the majority printed in one colour other than black (red, grey, green, brown, etc). (Lacking plate number 107, but with a facsimile bound in its place). This volume contains the seven supplementary plates at the rear of the volume.The fine plates are from drawings by W.J. Hooker, W.W. Young and Ellen Hutchins, and were engraved by F. Sansom and J. Simpkins.Nissen BBI 493; Pritzel 2287; Stafleu & Cowan I, 1473. For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $7.50
3 PIECES OF W. J. GORDY POTTERY, 10 1/2” T X 4” D; DECANTER (REPAIRED SPOUT) WITH STOPPER; TAN & BUFF SWIRLED MATTE GLAZE WITH GLAZED INTERIOR; MARKED “HANDMADE BY W.J.GORDY”, 3 1/2” T X 3 1/2” D FLOWER ARRANGER VASE;...3 Pieces of W. J. Gordy Pottery 10 1/2" T x 4" D; Decanter (repaired spout) with stopper; tan & buff swirled matte glaze with glazed interior; marked "HANDMADE by W.J.Gordy" 3 1/2" T x 3 1/2" D Flower arranger vase; glossy iridescent glaze over brown; marked "HANDMADE by W.J.Gordy" 1 1/4" T x 2 1/4" D miniature cabinet vase; marked "HANDMADE by W.J.Gordy"