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return to prices realized index > Rago Arts and Auction Center
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| Lot | Description | Estimate | Hammer Price | Sale Price |
| 1 | GEORGE OHR Vase with deep in-body twist, covered in several glazes as a glaze test. (Exhibited in "American Art Pottery, 1875-1930," Delaware Art Museum, Wilmington, DE, 1978, catalog #96.) Short, tight line to rim. Glaze numbers on outside, pad inside stamped G.E. Ohr, Biloxi, Miss. 3 1/2" x 4 1/2" (NOTES: "One of the first experimental pieces of Ohr pottery that we bought was this little vase which has on it his colors as they developed in the firing. When applied in the liquid state, all glazes look gray, so trial and experiment were a constant occupation of potters. In this case, Ohr achieved semi-gloss colors that effectively hide the red clay beneath.") | 10,000 - 15,000 | 13,000 | 15,600 |
| 2 | GEORGE OHR Cabinet vase with folded rim, covered in gunmetal brown and bright green matte glaze. Complete with signed stilt pad. Minor nicks to paper-thin rim. Vase stamped, stilt pad incised G. E. OHR. 3 1/4" x 3" (NOTES: "Stilt pads would normally have been snipped off, leaving little bumps to show where they had been. Either Ohr neglected to do this, or feared that removing it might destroy the delicate piece. We saved this little oddity because it adds yet another dimension to knowledge of the Mad Potter of Biloxi, whose ego was such that he marked even his home-made kiln furniture. Evidently, these were made by pressing clay into small plaster molds in which he had scratched his name - thus, the lettering is raised. ") | 2,250 - 2,750 | 2,600 | 3,120 |
| 3 | GEORGE OHR Low vessel covered in raspberry volcanic glaze, with bright green interior. Very slight loss to bubble at base. Stamped G. E. OHR Biloxi, Miss. 2 1/4" x 4" (NOTES: "Red glazes are notoriously fugitive and rare in pottery. Hugh Robertson spent years trying to achieve them, working on a thick stoneware body, whereas Ohr managed this difficult glaze on an amazing thin-walled vessel. One can just hear Ohr, muttering to himself, 'What's so difficult about a Red Volcanic glaze, anyway!'") | 3,000 - 4,000 | 4,500 | 5,400 |
| 6 | GEORGE OHR Vessel of white clay with closed-in rim, in sponged cobalt and brown pattern. Script signature. 2 1/2" x 3 1/2" (NOTES: "We were attracted to this because it is so obviously white, which was the ultimate challenge to potters. It's white on the outside and inside, with a very nice kind of blue sponge decoration. Was this Ohr's answer to the blue-sponged kitchen ware being produced in Ohio and Illinois in the 1880s and 90s? The Newark Museum has an example of Ohr's spongeware in its collection.") | 1,750 - 2,250 | 2,200 | 2,640 |
| 7 | GEORGE OHR Salt dish covered in mottled raspberry glaze with green drip. Stamped G. E. OHR Biloxi Miss., and signed Mobile clay 1899. 3 1/4" x 3 1/2" (NOTES: "This little vase is made primarily of Mobile clay which fires to a cream color. We once saw another vase, marked Ko op olis on the bottom,and it had a reddish body. It was important to potters to track such things because they understood that the right mixture of clay was all-important. One clay alone is seldom, if ever, sufficient to produce a pot. Where any one clay has deficiencies, such as a tendency to cracking, or lacks cohesiveness, or matures at too high or low a temperature, or is too red or too yellow - and especially if it lacks enough elasticity for throwing on the wheel - another clay or clays can be mixed with it to compensate for its shortcomings. First, finding the clay, and then determining the right proportions, necessitates constant experimentation. We will never know, but George Ohr may have begun his art of contortion by putting his clays to the test of his rigorous demands. The clays he mixed, that stretch and twist without tearing, that retain their character even when tissue-thin, are even more remarkable than his own ability as a thrower.") | 2,750 - 3,750 | 3,500 | 4,200 |
| 8 | GEORGE OHR Beaker incised with a branch of delicate blue flowers, in the Japanese taste. Possibly meant to have a handle. Signed Biloxi G. E. Ohr. 3" x 3" (NOTES: "This was especially interesting to us because we were unaware that Ohr was affected by any Japanese influence. However, the Philadelphia Centennial had brought the Aesthetic Movement and Japonisme to America in full force.") | 2,500 - 3,500 | 2,000 | 2,400 |
| 9 | GEORGE OHR Demitasse cup and saucer, the cup with a rare brushed decoration of yellow leaves on gunmetal glaze. Together with Ohr price tag. Restoration to rim. Cup: 2" x 3 1/4" (NOTES: "Brushed decoration by Ohr is very unusual. Snipped-off stilt marks on the saucer indicate that he stacked other pieces, probably more saucers, in the kiln.") | 1,000 - 1,500 | 850 | 1,020 |
| 10 | GEORGE OHR Vessel of Chinese melon shape, covered in gunmetal glaze over an amber ground. 1/2" kiln kiss. Script signature. 4 1/4" x 4 1/2" | 2,750 - 3,750 | 3,250 | 3,900 |
| 11 | GEORGE OHR Large pitcher embossed with battle scene, under gunmetal glaze with green interior. Signed Biloxi. 10 1/4" x 6 1/2" [NOTES: "We called this pattern, 'Clive In India.' Robert Clive [1725-1774] was an English General, First Baron Clive of Plassey, member of Parliament for Shrewesbury, Governor of Bengal, and, as a major figure in the establishment of British India, was a fine subject for commemoration. This is Ohr's version of the Parian pitcher issued by Alcock on the Centenary of the Battle of Plassey. Although Robert Blasberg expressed his belief that George Ohr made molds from English pitchers, this is not a literal copy. It is more attenuated, and he added a 'hammered' surface to the lower portion, inspired perhaps by a Chelsea Keramic tea set.") | 2,500 - 3,500 | 2,200 | 2,640 |
| 12 | GEORGE OHR Squat vessel of white clay with sponged cobalt and green glaze in watermelon-type pattern. Firing line to bottom. Stamped G. E. OHR, BILOXI. 2" x 4" | 1,750 - 2,250 | 1,800 | 2,160 |
| 13 | GEORGE OHR Cabinet vase of marbleized clay, covered in sheer forest green glaze. Stamped GEO. E. OHR BILOXI, MISS. 2 1/2" x 3" (NOTES: "Ware made of striated clays has never been common. It first came to America from 18th century Staffordshire, and was called "solid agate." English country potters made baby cradles of it, well into the 19th C. What was made at Bennington, Vermont in the 1850s is called "scroddled" ware. And in the 1870's, importers were bringing it in from Europe, advertising it as 'Lava Ware.'") | 1,000 - 1,500 | 1,300 | 1,560 |
| 14 | FREDERICK GEORGE RICHARD ROTH Squat stoneware lidded vessel, its base covered in gunmetal, indigo, and green flambe glaze, the sculptural lid modeled as a brown bear, 1920's. Some chips and touch-ups. Each component signed FGRR. 11" x 9" (NOTES: "We have always liked sculpture and have sold our share of bronzes and marbles. We were therefore attracted to this pottery work by the internationally renowned American sculptor, Frederick Roth, whose work, it turns out, is all around us. Born in Brooklyn in 1872, he was educated in Europe when his father's cotton business took the family to Germany. He learned sculpture in Vienna and in Berlin. He also learned pottery techniques at the Staffordshire potteries in England, and in Stuttgart, Germany, and for a time, modeled animal figures for the Doulton Potteries. He maintained a studio in New York from 1890, and participated in the St.Louis 1904 and the Panama Pacific Expositions. He taught at the National Academy, was President of the National Sculpture Society, and in 1925, won a major prize for a Central Park favorite, his statue of Siberian husky hero, Balto (the subject of a Disney movie.) As chief sculptor for the New York City Parks Department from 1934 to 1936, he produced fountain statues and tile reliefs at the Central Park Zoo, Mother Goose near 72nd Street and Alice in Wonderland, near 76th Street. His work is in the collections of the Metropolitan Museum of Art, the Detroit Institute of Arts, and Brookgreen Gardens. Morristown has his equestrian George Washington. He died in Englewood, NJ in 1944. His ceramics are extremely rare. We have seen only the lid produced as a paperweight, in a museum collection.") | 3,500 - 4,500 | 5,500 | 6,600 |
| 15 | DEDHAM Experimental vase by Hugh Robertson covered in mottled brown, green, and amber volcanic glaze, ca. 1895-1908. Marked Dedham Pottery/HCR. 7 1/2" x 4" (NOTES: "This volcanic was purchased from Lillian Hoffman in 1972. In this case, it was Hugh and George Robertson who were running the pottery, having moved to Dedham shortly after closing the Chelsea Keramic Art Works. There were three generations of Robertson potters in this country, and as a dynasty they rank among the most prominent of all art potters in the United States.") | 1,250 - 1,750 | 1,100 | 1,320 |
| 16 | CHELSEA KERAMIC ART WORKS Two pieces: a rare and early small plate carved with brick red violets on an ivory ground, with gold craquelure, 1880 (wear to gilt); a ewer by Josephine Day decorated in Albertine with applied branch of leaves and blossoms under glossy green glaze, tight line to base of handle, small chip. Stamped CKAW/JD. 7 1/2" x 4" (NOTES: "Marked and dated examples were always of interest to us. We bought this plate in 1974 at Skinner's, as one of the interesting experiments conducted at the Chelsea works by Hugh Robertson, before the move to Dedham, but have not yet identified 'EAL.' Josephine Day, Hugh Robertson's student and sister-in-law, was one of the few artists outside the Robertson family to design art ware.") | 1,200 - 1,600 | 900 | 1,080 |
| 17 | CHELSEA POTTERY U.S. Rare and early Crackleware plate incised in the Lotus pattern outlined in blue with rare green leaves, ca. 1891-95. Stamped CPUS/EEX. 10" dia. (NOTES: "The blue and green decoration on this plate was so unusual that it was bought for Diana for Christmas. The crackle finish was inspired by the Oriental pottery seen by Hugh Robertson at the Centennial Exposition. His subsequent experiments bankrupted the firm, and it was reorganized by a group of patrons, many being members of Society of Arts and Crafts, Boston, in 1891. The group of Boston investors who formed CPUS encouraged Robertson to produce a commercially successful ware, while continuing to make artware. Working with his son William, Hugh perfected the crackle finish and applied it to tableware. In 1892, the pottery offered prizes to students at the Museum of Fine Arts School in Boston for "the best design for a dinner-plate for reproduction by the Chelsea Pottery," stipulating that the designs be blue, simple in treatment, on a gray crackled ground. The pottery put several such student designs and those of other artists into production. The crackle ware produced in Dedham (where the pottery moved in 1895, and remained until 1968 when it closed), was its greatest commercial success.") | 2,500 - 3,500 | 2,500 | 3,000 |
| 18 | CHELSEA KERAMIC ART WORKS Experimental glaze plate, ca. 1877-80. (Exhibited in 'American Art Pottery, 1875-1930,' Delaware Art Museum, 1978, catalog #35.) Stamped CHELSEA KERAMIC ART WORKS, ROBERTSON & SONS. 5 1/2" dia. (NOTES: "Hugh Robertson liked experimenting with glazes and we've always looked for experimental pieces. This little plate, probably one of Robertson's earliest glaze trials, was bought at Bourne's on the Cape in 1975.") | 1,900 - 2,400 | 2,600 | 3,120 |
| 19 | DEDHAM Tall experimental vase by Hugh Robertson with a thick, mottled green, amber, and white dripping volcanic glaze, ca. 1895-1908. Marked Dedham Pottery/HCR/13/DP17F. 11" x 5 1/2" (NOTES: "This is the latest piece that we bought for our own pottery collection, because Diana loved it. It was another Christmas present.") | 4,000 - 6,000 | 3,750 | 4,500 |
| 20 | BROUWER Vessel of Chinese melon shape, covered in bronze flame-painted glaze. (Exhibited in "American Art Pottery, 1875-1930," Delaware Art Museum, 1978, and illustrated in the accompanying catalog.) Incised whale bone and Brouwer. 3 3/4" x 4 1/2" (NOTES: "The Brouwer bronze luster vase was found at Brimfield in July of 1972, at the end of business on Saturday. After every known art pottery dealer and collector had been through the field, Diana finally went out of our booth to see what she could find. She returned clutching the Brouwer, found among some plastic airplanes on a table between two vans...") | 1,250 - 1,750 | 1,000 | 1,200 |
| 21 | FRANK X. CHAMBERLIN / SALMAGUNDI CLUB China-painted Volkmar mug with Pierrot clowns, a snake handle, "Eat, Drink, and be Merry," to be read while drinking, and caricatures of twelve of its members on the bottom, ca. 1899-1910. Artist's signature. 6" x 5 1/4" (NOTES: "Founded in 1871 in New York as a sketching class, the Salmagundi became an artists' club which included at some point Frederick Church, George Inness, and Thomas Moran. Twenty-four mugs, provided by the Volkmar Pottery, were decorated every year, and sold at the library dinners to raise funds. The artist, Frank X. Chamberlin, was a New York-based magazine illustrator who did covers for Pearson's Magazine.") | 1,000 - 1,500 | 1,300 | 1,560 |
| 22 | VOLKMAR & CORY Pair of mugs decorated in the Delft style with George and Martha Washington, for the George Washington Memorial Association, ca. 1895. Hairline to George mug. Both signed G.W.M.A. 6" x 6" (NOTES: "In 1895, Volkmar formed a partnership with another artist, Kate Cory, under the name Volkmar & Cory, producing underglaze-painted historical scenes and portraits in a new studio in Corona, Queens. The partners won a gold medal at the Atlanta Exposition in 1895. After the partnership was dissolved in 1896, Volkmar continued production in Corona at the Crown Point Pottery.") | 700 - 1,000 | 600 | 720 |
| 23 | MARBLEHEAD Squat vessel covered in Persian crackleware glaze test. (Possibly one of Arthur Baggs' early glaze experiments.) Ship stamp with glaze and firing codes. 3 3/4" x 5 1/2" | 1,000 - 1,500 | 1,000 | 1,200 |
| 24 | NEWCOMB COLLEGE Tall vase carved by Sadie Irvine with a moonlit landscape of live oaks and Spanish moss, 1927. Small manufacturing glaze slip at rim. NC/SI/131/QM68/paper label. 11" x 5 1/2" (NOTES: "This was our first art pottery Christmas present, purchased from Lillian Hoffman in December 1971. It was soon snatched away for permanent exhibition at the Carborundum Museum by Curator James R. Mitchell, and there it remained from the opening of that ambitious institution, June 14th 1973 until it closed, February 2nd 1976.") | 7,500 - 10,000 | 8,000 | 9,600 |
| 26 | ROOKWOOD Trial porcelain plate depicting the twelve apostles under sheer ivory glaze. Flame mark/K8. 12 1/2" dia. (NOTES: "Among our earliest acquisitions were two porcelain plates produced by the Rookwood Pottery, which we purchased from Bob Sears in 1971. Bob had captured the private collection of John D. Wareham, a Rookwood artist who had served as foreman and manager, and thus was able to keep some of the experimental work which interested him... The unique Apostles plate is from this collection, and could be one of his own trials." | 450 - 650 | 275 | 330 |
| 26A | ROOKWOOD Jewel Porcelain plate painted by William Hentschel in blue and white Chinoiserie, 1924. (Exhibited in "After the China Taste: China's Influence in America, 1730-1930," catalog #53, p. 69. Peabody Museum of Salem, Salem, Massachusetts, 1985.) Flame mark/XXIV/K2A/artist's cipher. 10 1/4" dia. (NOTES: "This plate was apparently painted with the point of the brush in stipple technique, perhaps to impart a misty quality or to simulate craquelure. Intended or not, there is a quality very reminiscent of an earlier style... This is a modern 'take' on the Wan-Li decorations of the late 17th C., as they appeared on Dutch Delft and German faience, Canton, and Nanking. This plate is also from John D. Wareham's collection. ") | 1,500 - 2,000 | 1,100 | 1,320 |
| 27 | T.J. WHEATLEY Tall Albertine vase modeled with applied hibiscus on a barbotine painted ground, c. 1880. (Exhibited in "From Our Native Clay," American Ceramic Arts Society, New York, 1987, and pictured in their catalog, p. 57.) A few minor losses and touch-ups. Stamped WHEATLEY and artist signed KW. 19" x 10" (NOTES: "We purchased this vase from a collector in 1979. It is an example of turn-of-the-century pottery sometimes called Albertine, with large applied flowers in relief. Its underglaze slip decoration, called Barbotine, was derived from Limoges faience, and became extremely popular in this country, especially in Cincinnati. Thomas Jerome Wheatley was involved in several Cincinnati pottery businesses between 1879 and 1882, first as an artist and teacher at Coultry Pottery. The Cincinnati Art Pottery was incorporated in Ohio at the end of 1880 with Wheatley as a partner, and operated under the name T. J. Wheatley & Company until he left the business in 1882.") | 800 - 1,200 | 800 | 960 |
| 28 | SATURDAY EVENING GIRLS Bowl painted in wax-resist with white camellia, 1916. Two short, tight hairlines. Signed S.E.G./AM/10-16. 2 1/2" x 8 1/2" (NOTES: "Here again, one of our earliest purchases, and a Christmas present, purchased at Skinner's, November 1972. Its size and decoration are unusual. The majority of SEG work is small dishes, decorated with children's storybook themes.") | 1,500 - 2,000 | 1,200 | 1,440 |
| 29 | PEWABIC Plate embossed with black rooks against gold lustered glaze. Stamped PEWABIC. 10" dia. (NOTES: "George Ohr and Brouwer were not alone in rediscovering luster. Here was, unexpectedly, a plate with rooks, and not by Rookwood! Certainly one of the best examples of Pewabic we'd ever seen, there is a bold graphic quality, perhaps because the luster has been carefully brushed from the edges of the crows, making them stand out in stark relief. There is something classic about it, perhaps it's the triple bars dividing the panels which recall the triglyphs separating the reliefs of the frieze on the Parthenon. Purchased from Henry Coger years ago, one of the legendary early dealers in folk art.") | 2,000 - 3,000 | 4,000 | 4,800 |
| 30 | ADELAIDE ROBINEAU Cabinet vase covered in celadon crystalline glaze. Incised Y AR. 2 3/4" x 2 1/4" (NOTES: "Early in our career, a Robineau crystalline was to us the Holy Grail, and this was a much loved Christmas present. Certainly, Robineau was one of the most inspirational figures in the history of American ceramics. According to Frederick Hurten Rhead, after her training at Alfred University, she immediately began producing beautiful work without the typical period of artistic apprenticeship. He said, "I have one of those small earlier bits, small enough to hide in a closed fist, which I would not swap for a number of her later and more ambitious pieces." A vase of the same shape appears in Keramic Studio (Vol. XIII, No. 4) in August 1911, in a photo of Robineau's work exhibited by the American Woman's League at the 1911 International Exposition in Turin, Italy.") | 2,000 - 3,000 | 2,000 | 2,400 |
| 31 | PISGAH FOREST Baluster vase in white, blue, and amber crystalline glaze, 1939. Small nick to base. Embossed potter's wheel/1939. 6 1/4" x 4" (NOTES: "Another glazed crystalline vase, this one made with white clay by Walter Stephen in 1939. Walter Benjamin Stephen ran the Pisgah Forest Pottery in Skyland, North Carolina near Asheville from 1920 to 1961. From his small pottery with a wood-fired kiln and one or two assistants, he experimented with the latest techniques described in his library on ceramics and was able to produce crystalline wares "as elegant as those made by larger manufactories.") | 500 - 750 | 550 | 660 |
| 32 | CLIFTON Crystal Patina bottle-shaped vase, 1906. Signed Clifton 1906/148/CAP. 9" x 5" (NOTES: "By now, it should be obvious that we were drawn to crystalline glazes. So much so that Diana included some information about its technology in her article for Tiller, Vol I No. 4, March-April 1983, "Teco Pottery and the Green Phenomenon." in which she defined the matte crystallines. We knew little about Clifton examples but purchased this because we knew it was rare. The Clifton Art Pottery of Newark, NJ was in business for only a few years, opening in 1905, and ceasing production of art pottery in 1911, when the company turned to making tiles.") | 500 - 750 | 325 | 390 |
| 33 | EDWIN BENNETT Albion pillow vase in mottled turtoise-shell glaze, 1896. Marked E. BENNETT POTTERY 1896. 8 1/2" x 8 1/4" (NOTES: "We bought this vase because of its association with a respected old-time potter. Edwin AtLee Barber described Edwin Bennett as the Nestor of American pottery. From his arrival in the United States in 1841, when he worked with his brothers in East Liverpool, Ohio to his death in Baltimore in 1908, Bennett was one of the most commercially successful potters in American history. His output ranged from relief-molded yellow- and Rockingham-ware to art pottery. This pillow vase is of Albion ware, a short-lived pottery line which Barber reported was unappreciated and discontinued. At least it was appreciated while in our personal collection.") | 500 - 750 | 400 | 480 |
| 34 | WELLER Unusual vase with beetles under a sheer glossy green and purple glaze. Unmarked. 4 1/2" x 4 1/4" (NOTES: "A major event in our early art pottery education was a trip to the "Arts & Crafts Movement in America" exhibition at the Art Museum of Princeton University in the Fall of 1972. There we saw a matte-glazed vase like this one impressed WELLER, so that later, when we saw what we considered to be a more interesting shiny example, we grabbed it. Dave Rago informed us that the form is familiar in the matte glazed Fru Russett line, but is rarely given a glossy finish.") | 1,250 - 1,750 | 1,300 | 1,560 |
| 35 | HENRY VARNUM POOR Plate incised and painted with a portrait of the artist's wife, Marion Dorn Poor. A few small nicks to rim. Stamped floral Crow House mark. 8" dia. (NOTES: "Henry Varnum Poor always considered himself primarily a painter, although his early commercial success was as a ceramic artist. He studied art at Stanford University, then in 1917 established a studio in San Francisco with his former student, Marion Dorn. He had separated from his first wife, Lena Wiltz, and married Marion in 1919. They moved to Rockland County, New York that year, where he built a studio and home called Crow House. An image of the house became his pottery mark. In 1920 he began potting, for philosophical and practical reasons. Marion Dorn (1896-1964) and Poor divorced in 1923. While married to Poor, she showed in the "Exhibition of Industrial Art" at the Metropolitan Museum of Art. After divorcing Poor, she moved to London and continued a thriving career. She is best known for her carpet designs, which included carpets for Claridge's Hotel in London, the decorator Syrie Maugham, and the Diplomatic Reception Room of the White House. The British art connoisseur Harold Acton wrote of her work in Memoirs of an Aesthete (1948), "Marion designed modernistic rugs which kept one's eyes riveted to the floor.") | 2,500 - 3,500 | 4,250 | 5,100 |
| 36 | GUSTAV STICKLEY Custom-made hanging plate rail, ca. 1901. (From Vancroft's dining room). Unmarked. 31" x 96" x 6" | 12,000 - 18,000 | 8,500 | 10,200 |
| 37 | GUSTAV STICKLEY Custom-made massive sideboard with butterfly joints, ca. 1901. (From Vancroft's dining room). Unmarked. 45 1/4" x 25" x 100" | 35,000 - 55,000 | 60,000 | 72,000 |
| 38 | GUSTAV STICKLEY Dinner gong with original striker, ca. 1901. (From Vancroft's dining room.) Unmarked. 37" x 23" x 10 1/2" | 8,500 - 12,500 | 13,000 | 15,600 |
| 39 | GUSTAV STICKLEY Set of twelve early dining chairs (no. 1292), ten side- and two arm-, with drop-in leather-covered seats, ca. 1901. (A very rare model from Vancroft's dining room, the only complete set we've seen). Red decals on a few of the chairs. Armchairs: 37" x 24 1/2" x 21 1/2" | 12,000 - 18,000 | 22,000 | 26,400 |
| 40 | GUSTAV STICKLEY Custom-made dining table with square top, ca. 1901. (From Vancroft's dining room, this rare form was never offered in Stickley's catalogs. Only two others, of smaller size, are known.) Complete with fifteen 11 1/2" leaves, one 23" leaf with apron, and three pairs of attachable legs for support when opening the table. Unmarked. Closed 30 1/2" x 66" x 67", opens to 23'. | 15,000 - 25,000 | 32,500 | 39,000 |
| 41 | GUSTAV STICKLEY Custom-made five drawer server, ca. 1901. (From Vancroft's dining room). Unmarked. 44" x 72" x 23 1/2" | 18,000 - 25,000 | 26,000 | 31,200 |
| 42 | GUSTAV STICKLEY Early Morris chair (no. 2341) with loose seat cushion on a sling base, ca. 1901. (From Vancroft's living room). New hand-stitched leather pillows. Unmarked. 38" x 30" x 33 1/2" | 4,500 - 6,500 | 8,500 | 10,200 |
| 43 | GUSTAV STICKLEY Early Morris chair (no. 2341) with loose seat cushion on a sling base, ca. 1901. (From Vancroft's living room). New hand-stitched leather pillows. Early red decal. 38" x 30" x 33 1/2" | 4,500 - 6,500 | 9,000 | 10,800 |
| 44 | GUSTAV STICKLEY Oversized ladderback armchair with drop-in seat, ca. 1901. (From Vancroft's living room.) Unmarked. 38 1/2" x 32" x 28 3/4" | 1,000 - 2,000 | 4,000 | 4,800 |
| 45 | STYLE OF ROYCROFT Pair of tall andirons made of black enameled curled elements, complete with cross-bar, ca. 1901. (From Vancroft's living room). Unmarked. 36 1/2" x 13" x 27", crossbar: 50 1/2" | 800 - 1,200 | 2,300 | 2,760 |
| 46 | GUSTAV STICKLEY Firescreen with period oilcloth (no. 104), ca. 1901. (From Vancroft's living room). Unmarked. 35" x 31" x 10 3/4" | 1,000 - 1,500 | 1,400 | 1,680 |
| 47 | GUSTAV STICKLEY Ladderback armchair and rocker, ca. 1901. (From Vancroft's living room). Unmarked. Armchair: 37 1/4" x 25 1/2" x 24", rocker: 34" x 25 1/2" x 31" | 2,000 - 3,000 | 2,600 | 3,120 |
| 48 | GUSTAV STICKLEY Lamp table with circular top (no. 440), ca. 1901. (From Vancroft's living room.) Unmarked. 27 3/4" x 30" dia. | 6,000 - 9,000 | 7,000 | 8,400 |
| 49 | GUSTAV STICKLEY Leather top library table, ca. 1901. (From Vancroft's living room.) Unmarked. 30" x 40" | 6,000 - 9,000 | 16,000 | 19,200 |
| 50 | FOLK ART Carved and polychrome armchair in Native American motif. (From Vancroft's Indian room). 46 1/4" x 24 3/4" x 26 1/2" | 2,000 - 3,000 | 8,500 | 10,200 |
| 51 | FOLK ART Carved and polychrome armchair in Native American motif with original textile. (From Vancroft's Indian room.) 45 1/2" x 25 1/2" x 28 1/2" | 2,000 - 3,000 | 5,000 | 6,000 |
| 53 | GUSTAV STICKLEY Firescreen with Navajo textile, ca. 1901. (From Vancroft's Indian room, shown in period photograph with this original covering). Unmarked. 35" x 32 1/2" | 2,000 - 3,000 | 3,750 | 4,500 |
| 55 | FOLK ART Three-panel screen carved with Native American motifs, set with thirty-six original platinum print photographs of Native American tribesmen by Frank A. Rinehart, ca. 1901. (Used as a divider between Vancroft's Indian room and Billiards' room, this screen is a spectacular example of American folk art.) Photos signed F.A. Rinehart, copyrighted 1898 or 1899. Center panel: 100" x 33", side panels: 91" x 25", photos sight: 6 3/4" x 8 3/4". | 30,000 - 50,000 | 150,000 | 180,000 |
| 56 | GUSTAV STICKLEY Divan (no. 165) with interior corbels, leather-covered seat, ca. 1901. (From Vancroft's Japanese room.) Unmarked. 40" x 60" x 28" | 7,500 - 10,000 | 7,500 | 9,000 |
| 57 | GUSTAV STICKLEY Sidechair with vertical slats and corbels, original braided rush seat, ca. 1901. (From Vancroft's Japanese room. This very chair is pictured in situ in "Architecture After Richardson" by Margaret Henderson Floyd, 1994. The rare braided rush treatment is original, the first such one we've seen). Unmarked. 34" x 18" x 16 1/2" | 800 - 1,200 | 2,600 | 3,120 |
| 58 | GUSTAV STICKLEY Footstool and child's chair with rush seat, ca. 1901. (Both from Vancroft's Japanese room). Unmarked. Footstool, 17" x 16 1/2" x 13 3/4", sidechair, 27 1/2" x 15 3/4" x 15" | 400 - 600 | 700 | 840 |
| 59 | ROYCROFT Pair of tall andirons made of black enameled curled elements with twisted rings, ca. 1901. (Extremely rare). Large orb-and-cross incorporated in design. 31" x 12 1/4" x 20" | 6,000 - 9,000 | 5,500 | 6,600 |
| 60 | GUSTAV STICKLEY U-back armchair (no. 2616) with original rush seat, ca. 1901. Large red decal. 38 1/2" x 26 1/4" x 23 1/2" | 2,000 - 3,000 | 8,000 | 9,600 |
| 61 | GUSTAV STICKLEY Tabouret (no. 46) inset with hexagonal Grueby tile covered in indigo glaze, ca. 1901. (Exceedingly rare, especially with its original tile.) 21" x 19" | 12,000 - 18,000 | 18,000 | 21,600 |
| 62 | GUSTAV STICKLEY Plant stand (no. 44) with 10" indigo Grueby tile insert, ca. 1901. (From Vancroft's living room). Unmarked. 29 3/4" x 12 1/2" | 9,000 - 14,000 | 8,000 | 9,600 |
| 63 | GUSTAV STICKLEY Bungalow library table (no. 401), ca. 1901. 28" x 48" x 29 3/4" | 1,000 - 2,000 | 4,000 | 4,800 |
| 64 | STYLE OF GUSTAV STICKLEY Hall table with oil-cloth covered top, c. 1901. (From Vancroft's main hall). 42" x 54 1/2" x 20 3/4" | 1,500 - 2,500 | 4,250 | 5,100 |
| 65 | GUSTAV STICKLEY Bungalow armchair (no. 2576), c. 1901. Modified seat frame. Unmarked. 38 1/4" x 25 1/2" x 20 1/4" | 800 - 1,200 | 1,400 | 1,680 |
| 66 | GUSTAV STICKLEY Set of four billiard V-back chairs with oilcloth seats, ca. 1901. (From Vancroft's billiards room.) Unmarked. 45 1/2" x 25 1/2" x 21" | 20,000 - 30,000 | 25,000 | 30,000 |
| 67 | GUSTAV STICKLEY Five U-back chairs, three side- and two arm-, with modified seats, ca. 1901. One armchair with early red decal. Armchairs: 38 1/2" x 23 1/2" x 26 1/4" | 2,200 - 2,800 | 5,500 | 6,600 |
| 68 | RUSTIC Pair of hand-made twig stands, c. 1901. (From Vancroft's billiards room). Larger: 32 1/2 x 15 1/4", smaller: 31" x 14" | 1,400 - 2,200 | 1,800 | 2,160 |
| 69 | GUSTAV STICKLEY Early chestnut window seat, ca. 1901. (This uncatalogued version comes from Vancroft's Japanese room.) Unmarked. 25" x 24 3/4" x 17 1/2" | 1,500 - 2,500 | 3,250 | 3,900 |
| 70 | GUSTAV STICKLEY Window seat (no. 177), ca. 1901. (From Vancroft's living room). Unmarked. 26 1/2" x 25" x 19" | 1,500 - 2,500 | 2,900 | 3,480 |
| 71 | RHEAD SANTA BARBARA Tall vase etched with a stylized landscape. (An extraordinary example, this vase is certainly an iconic Arts and Crafts piece). A few hairlines. Stamped medallion of potter at kiln. 11 1/4" x 6" | 40,000 - 50,000 | 430,000 | 516,000 |
| 72 | AREQUIPA Squat vase carved with cinquefoils under very dark green matte crystalline glaze. Stamped AREQUIPA CALIFORNIA CH 11 77 16. 4 1/4" x 6" | 1,250 - 1,750 | 2,000 | 2,400 |
| 74 | AREQUIPA Vase incised with a Greek key motif and quatrefoils, under matte green glaze. Stamped AREQUIPA CALIFORNIA with tree, NN 11 76 15. 4 3/4" x 3 1/2" | 1,000 - 1,500 | 1,200 | 1,440 |
| 75 | AREQUIPA Cabinet vase carved with a floral band and covered in blue-gray frothy matte glaze. Stamped AREQUIPA CALIFORNIA MMKW 1624. 3 1/2" x 3 1/4" | 1,000 - 1,500 | 800 | 960 |
| 76 | ROBERTSON (LOS ANGELES) Small tapering vase covered in blue and yellow crystalline glaze. Stamped Los Angeles F. H. R. 4 1/2" x 3" | 1,000 - 1,500 | 900 | 1,080 |
| 77 | UNIVERSITY CITY Vase attributed to Frederick Rhead, excised with stylized trees and covered in matte green glaze, 1911. (We have seen several pieces of University City pottery made by Rhead, and are confident this is by his hand.) Incised UC 1911 5045. 9" x 5" | 4,500 - 6,500 | 4,250 | 5,100 |
| 78 | WILLIAM JERVIS / BRIARCLIFF Faceted covered jar decorated with a northern landscape in silhouette, its lid with oak leaves in squeezebag, topped by an acorn finial. Glaze chips and scaling around rim of jar and lid. Incised Briarcliff JERVIS. 6 3/4" x 4 1/2" | 2,500 - 3,500 | 2,000 | 2,400 |
| 79 | JERVIS Squat vessel covered in a fine and rare aventurine glaze. Incised JERVIS. 3" x 5 1/4" | 900 - 1,300 | 1,000 | 1,200 |
| 80 | SUSAN FRACKELTON Salt-glazed stoneware cabinet vase painted with branches of oak leaves and acorns. (Very fine quality). Marked 109 S F 3. 3 1/4" x 3 1/4" | 3,000 - 5,000 | 7,000 | 8,400 |
| 81 | RUSSELL CROOK Salt-glazed stoneware vase painted with lions on a dead-matte black and cobalt ground. (Seldom found so free of firing imperfections). Unmarked. 9 1/2" x 7 1/2" | 3,000 - 4,000 | 5,000 | 6,000 |
| 81A | ADELAIDE ROBINEAU Cabinet vase covered in a fine pink and ivory crystalline glaze. Signed AR in circle, incised 27 1912. 4 1/2" x 1 3/4" | 4,000 - 6,000 | 6,500 | 7,800 |
| 82 | ADELAIDE ROBINEAU Bud vase covered in a fine amber crystalline glaze. Minor grinding chips, restoration to 1/4" chip under rim. Signed AR and circular stamp. 7" x 2" | 4,500 - 6,500 | 9,000 | 10,800 |
| 83 | ADELAIDE ROBINEAU Porcelain squat vessel covered in a turquoise crystalline glaze. Carved medallion with 956 05 and remnant of paper label. 2 3/4" x 5" | 4,000 - 6,000 | 4,000 | 4,800 |
| 84 | ADELAIDE ROBINEAU Porcelain cabinet vessel inrown and blue crystalline glaze. Ink scribble. 2 1/4" x 2" | 1,250 - 1,750 | 1,000 | 1,200 |
| 85 | ADELAIDE ROBINEAU Porcelain cabinet vessel in white and ivory crystalline glaze. Marked 26. 2 1/4" x 2" | 1,000 - 1,500 | 1,000 | 1,200 |
| 86 | ADELAIDE ROBINEAU (Attr.) Four porcelain door knobs in assorted glazes. Some wear to surface of one. (While not marked by her hand, we have had signed examples in the past.) Roman numerals and AH. 1" x 2 1/4" | 1,000 - 1,500 | 1,900 | 2,280 |
| 87 | VALENTIEN Matte green vase embossed with maple leaves. Impressed mark. 6 3/4" x 5" | 1,500 - 2,000 | 3,750 | 4,500 |
| 89 | ROOKWOOD Scenic Vellum tapered vase painted by Sara Sax with silhouetted tall pines in a mountain landscape, 1909. (An excellent Arts & Crafts example.) Flame mark/1654D/V/V./artist's cipher. 9 1/2" x 4 1/2" | 4,500 - 5,500 | 7,500 | 9,000 |
| 90 | ROOKWOOD Scenic Vellum plaque, "Winter," painted by Sallie Coyne with tall pines in a snowy landscape, 1918. Mounted in original frame. Flame mark/XVIII/SEC. Plaque: 9 1/4" x 12 1/4" | 6,500 - 9,500 | 9,000 | 10,800 |
| 90A | ROOKWOOD Standard Glaze vase by Grace Young, "Wanstall Arapahoe," 1900. (Painted after the 1899 Rose & Hopkins photograph of Wanstall). Several scratches. Flame mark/581C/artist's cipher and title. 13 1/2" x 10 1/2" | 10,000 - 15,000 | 10,000 | 12,000 |
| 91 | ROOKWOOD Scenic Vellum bulbous vase painted by Ed Diers with a wooded landscape and small pond, 1924. Uncrazed. Flame mark/XXIV/295C/V/ED. 11" x 5" | 3,000 - 4,000 | 3,500 | 4,200 |
| 92 | ROOKWOOD Scenic Vellum ovoid vase painted by Ed Diers with tall trees, 1917. Peppering, restoration to chip at rim. Flame mark/XVII/30D/ED. 10" x 3 3/4" | 1,000 - 1,500 | 950 | 1,140 |
| 93 | ROOKWOOD Scenic Vellum vase with closed-in rim, finely painted by Kataro Shirayamadani with a wooded landscape, 1908. (An exceptional example). Flame mark/VIII/1126C/V/artist's cipher. 9 1/4" x 5 1/4" | 4,500 - 5,500 | 7,000 | 8,400 |
| 94 | ROOKWOOD Rare advertising tile decorated in cuenca with a blue rook and the word "Rookwood". (An extremely rare example, these advertising tiles were not meant for commercial sale.) Mounted in period frame, does not appear to have been removed. Minor nicks to two corners. Tile: 4 1/2" x 9" | 4,000 - 6,000 | 22,000 | 26,400 |
| 95 | ROOKWOOD Tile with oak tree, framed. Back and edges covered by frame. 6" sq | 2,000 - 3,000 | 1,500 | 1,800 |
| 96 | ROOKWOOD Scenic Vellum vase finely painted by E. T. Hurley with a silhouetted landscape, 1909. (Lovely example). Light peppering around shoulder. Flame mark/IX/1664G/V/ETH. 12 1/2" x 5 1/2" | 3,500 - 4,500 | 3,500 | 4,200 |
| 97 | ROOKWOOD Rare Z-Line vessel modeled with a maiden and covered in matte flambe glaze, 1901. (Deaccessioned from the Cincinnati Art Museum.) Firing lines and scaling to figure. Flame mark/Z/661/partial paper museum label. 4 1/4" x 5 1/2" | 2,500 - 3,500 | 2,500 | 3,000 |
| 98 | ROOKWOOD Rare Z-Line inkwell by A. M. Valentien with swirling maiden under matte green glaze, 1903. Flame mark/III/407Z/X1023X/A.M.V. 4" x 5" | 2,250 - 2,750 | 3,250 | 3,900 |
| 99 | ROOKWOOD Z-Line cabinet vase by A. M. Valentien with reclining nude under ivory matte glaze, 1901. Flame mark/I160Z/A.M.V. 2 1/2" x 3 1/4" | 1,500 - 2,000 | 1,400 | 1,680 |
| 100 | ROOKWOOD Z-Line squat vessel by A. M. Valentien with reclining nude under a cherry red matte glaze, 1901. Touch-up to shoulder. Flame mark/?51Z/A.M.V. 3 1/2" x 4 1/2" | 1,750 - 2,250 | 2,000 | 2,400 |
| 102 | ROOKWOOD Massive Standard Glaze vase painted by A. R. Valentien with tulip vines, 1893. Glaze miss near rim, restored drilled hole. Flame mark/139A/W/ARV. 17 1/2" x 9" | 1,500 - 2,500 | 2,700 | 3,240 |
| 103 | ROOKWOOD Tall Tiger Eye cylindrical vase painted by A. R. Valentien with branches of apples, 1891. Uncrazed. Flame mark/589C/W/A.R.V./L. 12 1/2" x 3 3/4" | 1,000 - 1,500 | 1,200 | 1,440 |
| 104 | ROOKWOOD Large Iris glaze vase beautifully painted by A.R. Valentien with pink roses, 1902. Minor glaze miss. Flame mark/II/905B/A.R.VALENTIEN. 15" x 8" | 7,500 - 10,000 | 7,000 | 8,400 |
| 105 | ROOKWOOD Vellum flaring vase painted by Ed Diers with pink poppies, 1927. Uncrazed. (Very crisp decoration). Flame mark/XXVII/1369D/V/ED. 9 1/4" x 5" | 3,250 - 4,250 | 4,750 | 5,700 |
| 107 | ROOKWOOD Tall Jewel Porcelain vase by William Hentschell with purple sprigs, 1920. Flame mark/XX/2499C/WEH. 14" x 5" | 3,000 - 4,000 | 6,500 | 7,800 |
| 108 | ROOKWOOD Decorated Mat large vase by Kataro Shirayamadani with green, pink and red poppies, 1929. Some grinding chips. Flame mark/XXIX/6006/Japanese cipher. 11 1/2" x 7" | 2,500 - 3,500 | 2,400 | 2,880 |
| 109 | ROOKWOOD Modeled Mat vase by William Hentschell with cattails, 1910. Seconded mark for light overglazing. Flame mark/X/581E/WEH/X. 12 3/4" x 6 1/2" | 1,000 - 1,500 | 1,500 | 1,800 |
| 110 | ROOKWOOD Massive bulbous Carved Butterfat vessel by William Hentschell with berried branches on an indigo ground, 1915. Restoration to rim chip. Flame mark/XV/164/WEH/. 10" x 11" | 2,250 - 2,750 | 2,000 | 2,400 |
| 111 | ROOKWOOD Butterfat bulbous vase by Lorinda Epply with exotic birds on trees, 1927. Flame mark/XXVII/2914/LE. 8 1/4" x 6 1/2" | 1,750 - 2,250 | 2,200 | 2,640 |
| 112 | NEWCOMB COLLEGE Massive and early jardiniere painted by Harriet Joor with blue irises, 1902. (A large and exceptional piece, recently discovered at a Tennessee yard sale). Professional restoration to hairline. NC/JM/HJ/U/H48X. 10" x 12" | 14,000 - 19,000 | 15,000 | 18,000 |
| 113 | NEWCOMB COLLEGE Tall vase by Marie DeHoa LeBlanc with white blossoms, 1908. NC/MHLeB/JM/CN12/W. 12 1/4" x 4 1/4" | 6,000 - 8,000 | 5,000 | 6,000 |
| 114 | NEWCOMB COLLEGE Early squat vessel and cover painted by Amelie Roman in a stylized peacock feather pattern, 1898. Minute fleck to rim of lid. NC/M/A.R.98-. 3 1/4" x 5 1/2" | 4,500 - 6,500 | 4,000 | 4,800 |
| 115 | NEWCOMB COLLEGE Exceptional and early biscuit jar and cover carved by Lucia Jordan with a stylized landscape, and on the cover, "Somewhere Above Us Live the Fulfillment of Our Dreams," 1907. Opposing short and tight lines to jar, a few small glaze flakes. NC/BN92/Lucia Jordan/JM/W. 7" x 5". | 9,000 - 14,000 | 8,000 | 9,600 |
| 116 | NEWCOMB COLLEGE Tall vase carved by A. F. Simpson with a moonlit landscape of live oak trees and Spanish moss, 1930. (An exceptional example). Three small grinding nicks. NC/SN43/131/JH/AFS. 11" x 5" | 6,000 - 9,000 | 8,500 | 10,200 |
| 117 | NEWCOMB COLLEGE Transitional vase by Sadie Irvine with tall pines under a full moon, 1917. Restoration to opposing hairlines. NC/SI/JM/133/IZ63. 10 1/2" x 4 3/4" | 2,500 - 3,500 | 4,000 | 4,800 |
| 118 | NEWCOMB COLLEGE Transitional bulbous vase crisply carved by A. F. Simpson with tall pines, 1913. NC/AFS/JM/B/FV77/17. 9" x 5" | 4,000 - 6,000 | 7,000 | 8,400 |
| 119 | NEWCOMB COLLEGE Vase carved by Sadie Irvine with tall oak trees along a river, 1917. (An unusual and very crisp example). A couple of minor flakes at base. NC/SI/JM/150/IZ60. 9 3/4" x 6 1/2" | 6,000 - 9,000 | 9,000 | 10,800 |
| 120 | NEWCOMB COLLEGE Vase carved by Sadie Irvine with tall pine trees, 1916. NC/SI/JM/126/224/IB94. 5" x 3 3/4" | 2,500 - 3,500 | 2,400 | 2,880 |
| 121 | NEWCOMB COLLEGE Vase carved by A. F. Simpson with a moonlit landscape of live oak trees and Spanish moss, 1922. Glazed-over chip and firing line, in the making. NC/JM/35/AFS/MR40. 5" x 4" | 2,200 - 3,200 | 2,400 | 2,880 |
| 122 | NEWCOMB COLLEGE Cabinet vase carved by A. F. Simpson with tall pines, 1916. NC/JM/IJ37/AFS/367/238. 4" x 2 1/2" | 1,700 - 2,200 | 2,700 | 3,240 |
| 123 | NEWCOMB COLLEGE Vase carved by Sadie Irvine with a moonlit landscape of live oak trees and Spanish moss, 1922. (An unusual stylization of this design.) NC/SI/JM/250/MW74. 8" x 3 3/4" | 3,000 - 4,000 | 4,000 | 4,800 |
| 124 | NEWCOMB COLLEGE Vase carved by A. F. Simpson with paperwhites, 1929. (Just perfect). NC/AFS/JH/R020/77. 6 3/4" x 4" | 2,000 - 3,000 | 3,250 | 3,900 |
| 124A | NEWCOMB COLLEGE Vase carved by Sadie Irvine with a moonlit scene of live oak and Spanish moss, 1920. (A crisp example with vivid color.) NC/SI/JM/209/KU68. 7" x 3 3/4" | 3,000 - 5,000 | 4,750 | 5,700 |
| 125 | NEWCOMB COLLEGE Cylindrical vase carved by Henrietta Bailey with pink pine cones, 1926. Tight 1" line. NC/HB/JM/PV70/320. 9 1/2" x 4" | 2,200 - 2,700 | 2,000 | 2,400 |
| 126 | NEWCOMB COLLEGE Transitional vase carved by A. F. Simpson with paperwhites, 1914. (Very crisp). NC/AFS/B/JM/250/JG66. 8 1/4" x 4" | 3,000 - 5,000 | 6,000 | 7,200 |
| 127 | NEWCOMB COLLEGE Vase by Sadie Irvine with nicotina leaves, 1922. NC/SI/209/MW24. 7 1/2" x 4" | 2,000 - 3,000 | 3,000 | 3,600 |
| 128 | NEWCOMB COLLEGE Bulbous vase carved by Sadie Irvine with trefoils, 1920. NC/JM/SI/KW82/179. 8 3/4" x 4 1/2" | 3,000 - 4,500 | 4,000 | 4,800 |
| 129 | GEORGE OHR Vase with deep in-body twist and floriform folds around rim, covered in semi-matte blue-gray glaze. (Deaccessioned from the American Folk Art Museum, New York) Small nick to rim, touch-up to stilt-pull. Stamped G. E. OHR Biloxi, Miss. 3" x 4 1/4" | 3,000 - 4,000 | 6,500 | 7,800 |
| 130 | GEORGE OHR Bud vase with folded floriform rim covered in mottled gunmetal glaze dripping over emerald green ground. (Deaccessioned from the American Folk Art Museum, New York.) 1/2" surface scratch to body. Script signature. 5" x 2 1/4" | 3,000 - 4,000 | 5,500 | 6,600 |
| 131 | GEORGE OHR Vase with pinched rim, its asymmetrical bulbous base sponge-painted in gunmetal glaze, entirely covered in mirrored cobalt glaze. G. E. OHR, Biloxi, Miss. 4 1/2" x 4 1/2" | 4,000 - 6,000 | 4,250 | 5,100 |
| 132 | GEORGE OHR Vase with asymetrically folded rim, covered in green and gunmetal glaze. Stamped G. E. OHR, Biloxi Miss. 4 3/4" x 2 3/4" | 2,000 - 3,000 | 4,000 | 4,800 |
| 133 | GEORGE OHR Squat vessel with flaring rim covered in a sponged-on brown and green glaze. 1" hairline. Stamped GEO. E OHR BILOXI, MISS. 2 3/4" x 4 1/4" | 900 - 1,200 | 1,200 | 1,440 |
| 134 | GEORGE OHR Novelty hat with speckled gunmetal glaze on an amber ground. Stamped G. E. OHR BILOXI. 3 1/4" x 3 1/4" | 1,000 - 1,500 | 1,600 | 1,920 |
| 136 | HANNAH OVERBECK Pen and ink with watercolor wash, "Milkweed." (Descended through the Nixon family, and the centerpiece of Hannah's personnal portfolio). Matted and framed. Titled and signed H.O. Image: 10" x 8" | 3,500 - 4,500 | 8,500 | 10,200 |
| 137 | ARTHUR WESLEY DOW Color woodblock print, "Gables by the Bridge," c. 1893. Matted and framed. (Provenance: From the estate of the artist). Unsigned. Image: 2 1/4" x 4" | 1,500 - 2,000 | 1,400 | 1,680 |
| 138 | ARTHUR WESLEY DOW Color linoleum cut, "Snowy Peak, Los Angeles," c. 1911. Matted and framed. (Provenance: From the estate of the artist). Image: 3 1/2" x 5 1/2" | 1,750 - 2,250 | 1,600 | 1,920 |
| 139 | GUSTAVE BAUMANN Color woodblock print, "Hillside Woods." Matted and framed. Pencil-titled, signed, and illegibly numbered. Image: 10 1/2" x 9 1/2" | 3,000 - 4,000 | 4,250 | 5,100 |
| 140 | EDNA BOIES HOPKINS Woodblock print, "Petunia," part of "The Bibliophile: A Magazine and Review for the Collector, Student, and General Reader," Vol. 1, No. 6, August 1908. Chop mark. Image: 7" x 4 1/2" | 1,500 - 2,000 | 2,500 | 3,000 |
| 141 | ARTHUR WESLEY DOW Two color prints: woodcut, "Little Venice," c. 1893 (provenance: From the estate of the artist); relief print, "Willow Tree and Sunset Clouds," c. 1902, from Ipswich Prints, fold and short tear. Both matted and framed. Image: 5" x 2 1/4", Sight: 6 3/4" x 7 1/2" | 600 - 800 | 1,100 | 1,320 |
| 142 | MORRIS & CO. Six panels of floral printed cotton fabric, some sewn as curtains, 1880-1900. Some fading to one. Signed on selvage. 35" x 56" | 800 - 1,200 | 700 | 840 |
| 143 | GUSTAVE BAUMANN Color woodblock print, "Woodland Meadows." Matted. Pencil-signed and titled. Image: 9 1/2" x 11" | 4,500 - 6,500 | 5,000 | 6,000 |
| 144 | SAMUEL YELLIN Pair of wrought-iron gates with vine motif and jester handle. (An exceptional and unusual set, authenticated by Samuel Yellin Metalworkers). Unmarked. Each 74" x 30" | 6,000 - 9,000 | 35,000 | 42,000 |
| 145 | SAMUEL YELLIN Wrought-iron adjustable floor lamp with candlestick sconce and floral tripod base, covered in brass wash. Non-original shade. (Authenticated by Samuel Yellin Metalworkers.) Unmarked. 64 1/4" x 19" | 4,000 - 6,000 | 3,750 | 4,500 |
| 146 | FORGED IRON Pair of tall candlebrum each with three bobeches and twisted shafts. | 1,500 - 2,000 | 2,000 | 2,400 |
| 147 | STYLE OF SAMUEL YELLIN Cast-iron door knocker shaped as a seahorse. Unmarked. 8 3/4" x 2" | 400 - 600 | 1,500 | 1,800 |
| 148 | SAMUEL YELLIN Wrought-iron ceremonial staff with ibis head offered to Milton B. Medary, 1929. (Philadelphia architect Milton B. Medary, Jr. (1874-1929), of Zantzinger, Borie, and Medary, was a close and long-time friend of Samuel Yellin's. Both taught at the Pennsylvania University, and collaborated on a great many architectural projects. Medary is best remembered for his use of Gothic revival, in particular the Washington Memorial Chapel at Valley Forge, Pennsylvania, and the Bok Tower in Mountain Lake, Florida. Yellin provided the wrought-iron metalwork on the latter, and the ibis-head staff might have been a gift from him to commemorate its inauguration in February, 1929. Medary died six months later.) Inscribed TO MILTON B. MEDARY FROM SAMUEL YELLIN - 1929. 6 2 3/4" x 5 3/4" | 2,000 - 3,000 | 12,000 | 14,400 |
| 149 | ARTS & CRAFTS Large hammered copper hood, embossed and riveted with a rooster perched on a ball. Medium patina. Unmarked. 44 1/4" x 39 1/2" x 9" | 2,500 - 3,500 | 1,300 | 1,560 |
| 150 | ARTS AND CRAFTS Hammered copper hanging cabinet, covered in riveted straps, its hinged amber glass door with fleur-de-lys pattern. (An excellent and unusual example, in the style of Theodore Pond). Normal cleaning of patina, mounted on a wooden back. Unmarked. 21 1/2" x 12" x 7 1/2" | 1,000 - 1,500 | 2,500 | 3,000 |
| 151 | FOLK ART Peacock weather vane with enameled feathers. Some losses to enamel. Unmarked. 25 1/2" x 20" | 1,000 - 1,500 | 3,250 | 3,900 |
| 152 | CHARLES ROHLFS Jewelry box with riveted hammered copper hinges, and wooden key on chain, 1901. (Exceptional and rare.) Interior of lid has green tinted shellac, and lined in original red velvet. Original finish, a few minor nicks. Carved R, 1901. 4 1/2" x 8 1/2" x 6" | 6,000 - 9,000 | 19,000 | 22,800 |
| 154 | ROYCROFT Brass-washed hammered copper bud vase with full-height buttresses. Orb and Cross mark. 7" x 3 1/2" | 2,750 - 3,750 | 2,800 | 3,360 |
| 155 | GUSTAV STICKLEY Chandelier with five hammered copper drops pierced with hearts and lined in original yellow glass cylinders. Complete with chains and original oak ceiling mount. Completely original condition, new to the market. No visible mark. 37" x 21" | 10,000 - 15,000 | 17,000 | 20,400 |
| 156 | ROYCROFT Hammered copper and mica helmet-shade table lamp. Fine original patina and mica. Orb & Cross mark. 14 1/2" x 7 1/4" | 2,000 - 3,000 | 3,500 | 4,200 |
| 157 | ROYCROFT Tall hammered copper table lamp with helmet shade. Patina cleaned some time ago. Orb & Cross mark. 18 1/2" x 7 1/2" | 1,000 - 1,500 | 1,800 | 2,160 |
| 158 | ROYCROFT Hammered copper helmet-shade lamp. Fine original patina. Orb & Cross mark. 14" x 6" | 2,000 - 3,000 | 3,250 | 3,900 |
| 159 | ROYCROFT / STEUBEN Rare table lamp with Roycroft brass-washed three-socket base and decorated Steuben art glass shade. Good original patina; the finial, though by Roycroft, is not the correct fit for this piece. Base stamped Orb & Cross mark. 18" x 10" | 5,000 - 7,000 | 7,500 | 9,000 |
| 160 | TIFFANY STUDIOS Three-light lily lamp on bronze base, with complementary gold art glass shades. Original patina, a few flakes. TIFFANY STUDIOS NEW YORK 320, shades unmarked. 8 1/2" x 8 1/4" | 2,500 - 3,000 | 2,250 | 2,700 |
| 161 | TIFFANY STUDIOS Three-light lily lamp on bronze base, with gold art glass shades which appear to be by Tiffany. Original patina, a few scuffs. TIFFANY STUDIOS NEW YORK 320, shades unmarked. 8 1/2" x 8 1/4" | 2,500 - 3,500 | 4,250 | 5,100 |
| 162 | TIFFANY STUDIOS Table lamp, its green leaded glass shade in an oak leaf and acorn pattern over a Seccessionist-style three-socket bronze base with verdigris patina. Breaks to a couple of small pieces. Both stamped TIFFANY STUDIOS NEW YORK, shade marked 1267, base marked 628. 26" x 18" | 22,500 - 27,500 | 30,000 | 36,000 |
| 163 | TIFFANY STUDIOS Arabian desk lamp in green and gold. Shade etched L. C. T. Favrile, base etched L. C. Tiffany Inc. Favrile. 14 1/2" x 7" | 3,500 - 4,500 | 4,500 | 5,400 |
| 164 | L. C. TIFFANY Gold Favrile candlestick lamp. Shade and base marked L. C. T. 12 3/4" x 7" | 1,400 - 1,900 | 1,400 | 1,680 |
| 165 | TIFFANY STUDIOS Gold Favrile floriform compote with green tendrils. Etched L.C.T. Favrille. 3 1/8" x 8 1/2" | 1,250 - 1,750 | 1,700 | 2,040 |
| 166 | L. C. TIFFANY Unusual red Favrile glass vase. Etched 1078A L. C. T. 5 3/4" x 3" | 1,000 - 2,000 | 1,800 | 2,160 |
| 167 | TIFFANY STUDIOS Table lamp, its hemispherical leaded glass shade in the Pomegranate pattern, over a bronze faceted base with three-socket cluster. Fine original patina, a couple of short breaks. Both stamped TIFFANY STUDIOS NEW YORK, shade marked 1457, base 533. 22 1/2" x 16" | 15,000 - 20,000 | 16,000 | 19,200 |
| 168 | TIFFANY STUDIOS Bronze Seccessionist lamp base with applied swirls, five ball feet and swirl cluster of three sockets. Wear to gilt parcel, missing tube shaft and cap. Stamped TIFFANY STUDIOS NEW YORK 5879 C1. 18" x 13 1/2" | 4,500 - 6,500 | 7,500 | 9,000 |
| 169 | TIFFANY STUDIOS Nine-piece assembled bronze desk set in the Zodiac pattern: two hinged inkwells, rocking blotter, paper clip, pen tray, ashtray with matchbox holder, blotter with blotter ends, notepad holder (acid-etched brass finish), and a scale (in black finish). Matchbox holder side loose. Stamped TIFFANY STUDIOS NEW YORK. | 1,500 - 2,000 | 1,700 | 2,040 |
| 170 | TIFFANY STUDIOS Pastel centerbowl with indigo morning glories on a trellis ground. Engraved LC TIFFANY - Favrile 2132P. 3 3/4" x 12 1/2" | 2,750 - 3,250 | 3,500 | 4,200 |
| 172 | HANDEL Table lamp, its hemispherical shade of etched glass painted with a moonlit landscape, over a fluted, three-socket bronzed base. Shade signed HANDEL 6324/Handel with patent, base stamped HANDEL. 23 1/2" x 18" | 4,000 - 6,000 | 6,000 | 7,200 |
| 173 | HANDEL Table lamp, its bell-shaped acid-etched glass shade obverse-painted with branches of oak leaves and acorns, over a fluted three-socket bronzed base. Some pitting to patina, wear to cap, several minor fleabites to lower rim of shade. Shade signed HANDEL. 23 1/2" x 18" | 6,000 - 8,000 | 9,000 | 10,800 |
| 174 | HANDEL Boudoir lamp, its paneled acid-etched shade reverse-painted by Mary Palme with cranes flying through bamboos, over a reticulated bronzed candlestick base. (A rare shade and base in excellent condition). Shade marked HANDEL 7061 PAL, base stamped HANDEL. 16" x 7" | 2,400 - 2,900 | 2,300 | 2,760 |
| 175 | HANDEL Boudoir lamp, its acid-etched hemispherical shade painted with spade-shaped leaves and foliage over a bronzed candlestick base. Shade signed HANDEL #5512, base stamped HANDEL. 14" x 6 1/2" | 2,250 - 2,750 | 5,000 | 6,000 |
| 176 | HANDEL Rare floor lamp, its paneled cattail shade lined with caramel slag glass over an exceptional three-socket fluted bronzed base with sphinx. Fine original patina. Base marked HANDEL. 63" x 24" | 30,000 - 50,000 | 30,000 | 36,000 |
| 177 | HANDEL Globe fixture painted with trees and birds on a lustered, acid-etched ground. Bottom cap and tassel repatinated. Shade signed HANDEL 6885. Approximately 18" to ceiling, 9" dia. | 2,500 - 3,500 | 3,500 | 4,200 |
| 178 | GUSTAV STICKLEY Hammered copper wall sconce with painted glass shade. Medium patina. Als-ik-kan stamp. 11" x 9" | 1,500 - 2,000 | 2,600 | 3,120 |
| 180 | HANDEL Figural table lamp base depicting a kneeling maiden holding a jug, and covered in a fine, original bronze patina, original cast cap. Stamped HANDEL. 24 3/4" x 7" | 5,000 - 7,000 | 6,500 | 7,800 |
| 181 | HANDEL Hammered metal chandelier in bronze patina, with five drops ending in Steuben gold Aurene shades. Original hammered, faceted screws, a few scratches to original patina. Unmarked base, shades stamped Steuben. To ceiling mount: 42" x 22", shades: 6" x 3 1/2" | 3,000 - 4,000 | 5,000 | 6,000 |
| 182 | HANDEL Table lamp, its mushroom-shaped shade obverse-painted with stylized green leaves on yellow ground, over a two-socket patinated copper base with leaf pattern. Replaced ring, top stem, and sockets. Shade marked HANDEL 5468, base unmarked. 19 1/2" x 11" | 3,750 - 4,750 | 6,000 | 7,200 |
| 183 | BIGELOW KENNARD Table lamp, its hemispherical shade with a band of stylized leaves on white slag glass ground, over a good quality three-socket bronze base. Original verdigris patina, cap cleaned, short lines to a couple of panes. Shade stamped BIGELOW KENNARD BOSTON BIGELOW STUDIOS. 22" x 16 | 4,500 - 6,500 | 3,750 | 4,500 |
| 184 | HANDEL Table lamp, its etched glass shade reverse-painted with bright yellow daffodils, on a three-socket classical bronzed base. Shade signed 7122 HANDEL R (artist's initial) and HANDEL Lamps, Patent No, base with cloth label. 24 1/4" x 18" | 6,000 - 9,000 | 11,000 | 13,200 |
| 185 | HANDEL Double candlestick lamp with brass-plated base, topped by a rectangular shade painted with roses. 2 1/2" line to corner of one panel. Shade signed HANDEL 7792, base has cloth label. 20" x 15 1/2" | 2,250 - 3,250 | 2,000 | 2,400 |
| 186 | HANDEL Double candlestick lamp with brass-plated base and brushed brass patina, topped by a rectangular shade painted with roses. Shallow chip to edge of one panel, some soldering to support at top of shade. Shade signed HANDEL 7792. 20" x 15 1/2" | 2,500 - 3,500 | 2,000 | 2,400 |
| 187 | HANDEL Table lamp, its etched glass shade reverse-painted by Henri Bedigie with an autumnal mountain landscape, over a textured gessoed three-socket base. Shade signed Bedigie and HANDEL 7118. 23 1/2" x 18" | 6,000 - 9,000 | 7,500 | 9,000 |
| 188 | PAIRPOINT Table lamp, its flaring acid-etched shade reverse-painted with exotic birds and flowers on silver-plated, three-footed, classical base. Replaced sockets, some wear to silver, cap polished. Base stamped PAIRPOINT D 3070. 23" x 18" | 3,000 - 4,000 | 3,250 | 3,900 |
| 189 | PAIRPOINT Table lamp, its flaring acid-etched shade reverse-painted with exotic birds and flowers on silver-plated, three-footed classical base. Replaced sockets, some wear to silver, 1/4" chip to rim of shade. Base stamped PAIRPOINT D 3070. 23" x 18" | 3,000 - 4,000 | 3,250 | 3,900 |
| 190 | GUSTAV STICKLEY Settle (no. 222) with leather-covered drop-in spring seat. Red decal. 36 1/4" x 79 1/2" x 32 3/4" | 8,000 - 12,000 | 8,500 | 10,200 |
| 191 | GUSTAV STICKLEY Library table with circular top, ca. 1902. Small red decal in box. 29 1/2" x 39" | 5,500 - 7,500 | 5,500 | 6,600 |
| 192 | GUSTAV STICKLEY Paneled magazine stand (no. 548), 1902. (A fine and rare example.) Red decal in box. 43 3/4" x 15 1/2" x 15 1/4" | 4,500 - 6,500 | 5,000 | 6,000 |
| 194 | GUSTAV STICKLEY Chalet writing desk (no. 505). Red decal. 46" x 24" x 16" | 2,000 - 3,000 | 1,900 | 2,280 |
| 195 | GUSTAV STICKLEY Music stand (no. 670). Partial paper label. 39 1/4" x 22" x 15" | 2,200 - 2,800 | 2,700 | 3,240 |
| 196 | GUSTAV STICKLEY Harvey Ellis-designed maple side chair with rush seat, inlaid with pewter, copper, and fruitwoods. Unmarked. 39 1/4" x 16 3/4" x 18 1/2" | 3,500 - 4,500 | 5,500 | 6,600 |
| 197 | WALFRED THULIN Carved Gothic blanket chest with heavy wrought-iron handles. (Woodcarver Walter Thulin joined Herman Dudley Murphy and Charles Prendergast in 1906 in the Frame Shop of Herman Dudley Murphy on Clarendon Street in Boston. Thulin became president in 1911, and the shop's name changed to the Thulin-Murphy Co. Honored medalist from the Society of Arts & Crafts, Boston.) Carved W.T. in diamond. 24" x 42" x 22" | 2,500 - 3,500 | 16,000 | 19,200 |
| 198 | GUSTAV STICKLEY Harvey Ellis-designed drop front desk inlaid with pewter, copper, and fruitwoods. Complete with original glass inkwells. Early red decal. 43 3/4" x 30" x 11 3/8" | 9,000 - 14,000 | 18,000 | 21,600 |
| 199 | LIMBERT Three-door bookcase (no. 359) with three adjustable shelves per section. Branded mark. 57" x 66 1/2" x 14" | 4,500 - 6,500 | 8,500 | 10,200 |
| 200 | LIMBERT Single oval library table (no. 146). Early paper label. 29" x 45" x 30" | 2,800 - 3,500 | 3,750 | 4,500 |
| 201 | LIMBERT Cut-out window seat (no. 243 1/2). Branded mark. 24" x 25" x 18" | 3,500 - 5,500 | 4,000 | 4,800 |
| 202 | LIMBERT Double oval library table (no. 158). Branded mark. 29 1/2" x 47 3/4" x 36" | 7,000 - 10,000 | 8,000 | 9,600 |
| 203 | GUSTAV STICKLEY Spindle cube chair (no. 391) with drop-in foam seat recovered in brown leather. Red decal. 29" x 26 1/4" x 27 1/2" | 5,000 - 8,000 | 6,000 | 7,200 |
| 204 | GUSTAV STICKLEY Early bow-arm Morris chair (no. 2340) with flaring ("reverse-tapered") legs and loose seat cushion on rope foundation, ca. 1901. Unmarked. 39" x 31 1/2" x 33 1/2" | 7,000 - 10,000 | 9,500 | 11,400 |
| 205 | GUSTAV STICKLEY Early double-door bookcase (no. 525) with mitered mullions and three fixed shelves, chamfered back, ca. 1901. Early red decal. 56" x 45" x 12". | 14,000 - 18,000 | 15,000 | 18,000 |
| 206 | GUSTAV STICKLEY Oversized rocker (no. 323) with drop-in spring seat covered in brown leather. Red decal. 37" x 29" x 30" | 2,000 - 3,000 | 2,500 | 3,000 |
| 207 | STICKLEY BROTHERS Double oval lamp table. (Excellent example of a rare form.) Metal tag. 30" x 36" x 28 1/4" | 1,200 - 1,800 | 2,000 | 2,400 |
| 208 | GUSTAV STICKLEY Small cube settee (no. 305) with reupholstered drop-in spring seat. (A rare and lovely form.) Unmarked. 30" x 56" x 22" | 2,500 - 3,500 | 3,750 | 4,500 |
| 209 | GUSTAV STICKLEY Harvey Ellis-designed single-door china cabinet (no. 803) with three adjustable shelves. Early Eastwood paper label and red decal. 60" x 36" x 15 1/4" | 4,000 - 6,000 | 5,000 | 6,000 |
| 210 | GUSTAV STICKLEY Six early Bungalow dining chairs (no. 1289) with rush seats, ca. 1901. (Extremely rare, this is only the third set we have seen in thirty years.) 37 3/4" x 18 1/2" x 19" | 4,000 - 6,000 | 9,000 | 10,800 |
| 211 | GUSTAV STICKLEY Drop-front desk (no. 706) with full gallery interior, original key. Red decal. 43 3/4" x 30" x 13" | 3,500 - 4,500 | 3,750 | 4,500 |
| 212 | LIMBERT Cut-out umbrella stand (no. 254). (An exceedingly rare form.) Branded signature. 27" x 12" sq. | 1,500 - 2,000 | 1,900 | 2,280 |
| 213 | LIMBERT Cut-out lamp table (no. 240). Unmarked. 29 1/2" x 20" sq. | 2,500 - 3,000 | 2,600 | 3,120 |
| 214 | GUSTAV STICKLEY Chalet magazine stand (no. 500), ca. 1900. (Illustrated in Catalog No. 1, New Furniture). Unmarked. 43" x 12 3/4" sq. | 1,500 - 2,500 | 2,900 | 3,480 |
| 215 | L. & J.G. STICKLEY Oversized two-door china cabinet (no. 729) with cupboards below for additional storage. 70 1/8" x 50" x 17 1/8" | 10,000 - 12,000 | 9,500 | 11,400 |
| 216 | GUSTAV STICKLEY Slatted cube chair with drop-in spring seat, together with an early mahogany footstool. Unmarked. Chair: 29" x 26" x 27 3/4"; footstool: 13" x 13" x 22" | 4,000 - 5,000 | 3,500 | 4,200 |
| 217 | GUSTAV STICKLEY Slatted cube chair with drop-in spring seat. Red decal. 29" x 26" x 27 3/4" | 4,000 - 5,000 | 3,500 | 4,200 |
| 218 | GRUEBY Table lamp with a reticulated Kendrick base covered in a superior matte green glaze. The original, electrified bronze font supports a leaded glass shade in floral pattern attributed to Duffner and Kimberly. Tight 2" hairline and minor nicks to base, a couple of short lines to glass on shade. Base has circular Faience stamp, font has Grueby Pottery paper label with price and number, shade unmarked. Base: 12" x 8", shade: 8" x 19", overall: 23" x 19" | 20,000 - 25,000 | 20,000 | 24,000 |
| 219 | GRUEBY Rectangular advertising tile. 6" x 4 1/2" | 2,500 - 3,500 | 3,000 | 3,600 |
| 220 | GRUEBY Squat vase with three rows of curled leaves under a superior matte green glaze. Invisible restoration to two rim chips. Spherical Pottery stamp, 41 N. 6" x 8" | 2,000 - 3,000 | 5,000 | 6,000 |
| 221 | GRUEBY Bulbous vase with buds alternating with curled leaves under frothy matte glaze. Circular Faience stamp. 7 1/2" x 4 1/2" | 2,000 - 3,000 | 2,200 | 2,640 |
| 222 | GRUEBY Vase by Wilhemina Post with rows of full-height leaves, covered in matte green glaze. (A crisp example, covered in a fine glaze). Professional restoration to base chip. Circular Pottery mark, WP 104. 8" x 5 1/2" | 2,500 - 3,500 | 2,700 | 3,240 |
| 223 | GRUEBY / TIFFANY Table lamp, its Tiffany Studios leaded glass hemispherical shade in the Acorn pattern, over a Grueby Pottery lamp base with golden cinquefoils on a rich matte green ground. Several short breaks to glass, original Tiffany three-socket fixture. Remnants of white paint on pottery. Shade stamped TIFFANY STUDIOS NEW YORK 1435-34, base covered with mount. 21" x 16" | 17,500 - 22,500 | 24,000 | 28,800 |
| 224 | GRUEBY Squat vessel with tooled and applied rounded leaves, alternating with white buds, covered in a rich matte brown glaze. Several small glaze chips. Circular Pottery stamp, E.R., and number sequence. 3 1/2" x 5" | 2,500 - 3,500 | 3,750 | 4,500 |
| 225 | GRUEBY Covered bulbous jar with three small handles, in a rich brown glaze. (A very rare example.) 1" stilt-pull. Circular Pottery stamp. 7 1/4" x 5 3/4" | 2,000 - 3,000 | 1,700 | 2,040 |
| 226 | GRUEBY Tile with winged Pegasus on green ground, in hammered copper footed mount. (A very rare example). Restoration to two corners. Signed M. C. 6" sq. | 3,000 - 4,000 | 3,250 | 3,900 |
| 227 | GRUEBY Tile, "The Pines." Glaze chips to three corners, some abrasion to surface. Unmarked. 6" sq. | 2,000 - 3,000 | 2,100 | 2,520 |
| 228 | GRUEBY Fine and large vase with ivory buds alternating with leaves under a rich matte mustard glaze. Professional restoration to chips at base. Circular Pottery stamp/C.H. 11" x 8 1/2" | 8,000 - 12,000 | 10,000 | 12,000 |
| 229 | GRUEBY Tile decorated in cuenca with a tall ship in yellow, mustard, and brown on a curdled green ground. (From the collection of David Cathers.) One burst bubble to sail. Signed PS. 6" sq. | 1,500 - 2,000 | 1,500 | 1,800 |
| 230 | GRUEBY Tile with brown tulip on green ground. 1/4" chip to corner. Signed KY. 6" sq. | 2,000 - 3,000 | 1,600 | 1,920 |
| 231 | GRUEBY Tile decorated in cuerda seca with houses on a hill by the seashore. Stamped GRUEBY TILE BOSTON. 4" sq. | 1,250 - 1,750 | 2,400 | 2,880 |
| 232 | GRUEBY Tile with stag and tree. Minor fleck to corner. Signed JS. 4" sq. | 700 - 1,100 | 2,800 | 3,360 |
| 233 | GRUEBY Tall vase with yellow buds alternating with leaves under a fine matte green glaze. Professional restoration to small rim chip. Circular Pottery stamp/ER/3/30. 12" x 5 1/2" | 6,000 - 9,000 | 8,000 | 9,600 |
| 234 | VAN BRIGGLE Early vase embossed with geese and covered in matte green to chartreuse glaze, 1903. AA VAN BRIGGLE/5/1903/III. 6 1/4" x 5 1/2" | 4,000 - 5,000 | 6,500 | 7,800 |
| 235 | VAN BRIGGLE Early two-handled vase with trefoils covered in indigo and bright green glaze, 1903. Drilled hole to bottom. AA/VAN BRIGGLE/1903/III/172. 12 1/4" x 5 1/4" | 600 - 900 | 1,800 | 2,160 |
| 236 | VAN BRIGGLE Early tapered vase embossed with yucca under yellow and green glaze, 1903. AA/VAN BRIGGLE/1903/III/169. 12 1/2" x 5" | 2,500 - 3,500 | 2,300 | 2,760 |
| 237 | VAN BRIGGLE Exceptional, early vase on stand, embossed with green peacock feathers on a rich purple ground, set on a bronze footed base, 1904. (Possibly done for the St.Louis World's Fair. This is a large, rare, exquisite piece - there is absolutely nothing wrong with this.) AA/VANBRIGGLE/1904. 13" x 4 1/4" | 7,000 - 9,000 | 35,000 | 42,000 |
| 238 | FULPER Large vase covered in Chinese Blue flambe glaze. Vertical mark. 10 1/2" x 10 1/2" | 800 - 1,200 | 850 | 1,020 |
| 239 | FULPER Large center bowl covered in Cafe-au-Lait over mustard matte glaze. Grinding chips, a few glaze spots, and a very small fleck to rim. Vertical mark. 6 1/2" x 14 1/2" | 1,000 - 1,500 | 1,700 | 2,040 |
| 240 | FULPER Urn with hammered texture covered in Leopard Skin Crystalline glaze. Vertical mark. 12" x 11 1/2" | 800 - 1,200 | 900 | 1,080 |
| 241 | FULPER Large squat vessel covered in brown crystalline glaze dripping over Mustard Matt. Small chip to foot ring. Vertical mark. 8" x 10" | 1,000 - 1,500 | 1,800 | 2,160 |
| 242 | FULPER Table lamp, its mushroom-shaped shade with slag glass inserts |
