Four matching antique iron and bronze Gothic Revival sconces, dating from the 1920’s. These large four-arm sconces feature a hammered iron backplate with bronze  More »

Four matching antique iron and bronze Gothic Revival sconces, dating from the 1920’s. These large four-arm sconces feature a hammered iron backplate with bronze accents. A square arm, supported by a curled iron band, ends in a round platform with a rope border. The platform features an edge ornamented with cutout designs, and holds four lights. These wall lamps are in excellent condition; they have been professionally rewired and come with all the necessary attachments for modern installation. The sconces measure 17-1/2” tall, 8-1/4” wide, and project 9-3/4” from the wall. THE PRICE LISTED IS FOR EACH PAIR; THERE ARE TWO PAIRS AVAILABLE. NSP670-RW   « Less

Sterling Silver "Single Monogrammed Candlestick" Here we have a Single Monogrammed Candlestick. This measures 5 inches tall and 3.5 inches diameter at the base and marked  More »

Sterling Silver "Single Monogrammed Candlestick" Here we have a Single Monogrammed Candlestick. This measures 5 inches tall and 3.5 inches diameter at the base and marked (EAM) Sterling. Light sign of wear single ding in the base; otherwise In good condition. These are all consigned works. Sold with NO RETURN; Ask all questions before purchasing.   « Less

Reticulated Sterling Silver Tall Compote Here we have a Signed Sterling Silver Reticulated Tall Compote, beautifully executed with reticulated rim. This treasure is 7  More »

Reticulated Sterling Silver Tall Compote Here we have a Signed Sterling Silver Reticulated Tall Compote, beautifully executed with reticulated rim. This treasure is 7 inches tall and 7.5 inches wide at the base of the work. Little signs of surface wear. These are all consigned works. Sold with NO RETURN; Ask all questions before purchasing.   « Less

Sterling Silver Footed Compote Here we have a Signed Sterling Silver Compote. This treasure is 2.75 inches tall and 6.5 inches wide at the base of the work. Little signs  More »

Sterling Silver Footed Compote Here we have a Signed Sterling Silver Compote. This treasure is 2.75 inches tall and 6.5 inches wide at the base of the work. Little signs of Surface wear otherwise in good condition. Marked Sterling. These are all consigned works. Sold with NO RETURN; Ask all questions before purchasing.   « Less

Vintage Waterford Crystal Coffee Tankard - Mug Here we have a lovely Vintage Waterford Crystal Coffee Tankard - Mug with white Waterford Stamp. The work measures 3.75  More »

Vintage Waterford Crystal Coffee Tankard - Mug Here we have a lovely Vintage Waterford Crystal Coffee Tankard - Mug with white Waterford Stamp. The work measures 3.75 Inches tall and 3.75 inches diameter, from a NOW RETIRED limited Production. There is a FLAW in the area of the Inside - NOT a crack but a imperfection where the handle was applies and in good condition made in Ireland! Sold with the flaw and with NO RETURN The beginnings of glass making in Ireland are lost in the mists of time but there is sufficient archaeological evidence to show that, from the early Iron Age, glass was regarded with respect. Indeed, medieval documents can prove glass making existed in Ireland back in the middle 13th century. However, the Waterford Crystal story started to blossom in 1783 when two brothers, George and William Penrose, founded their crystal manufacturing business in the busy port of Waterford. They were important developers and the city’s principal exporters. The development, they told the Irish Parliament, cost £10,000 — a great deal of money in the 18th century. They employed 50 to 70 people, led by a fellow Quaker, John Hill, from Stourbridge in England, and succeeded in producing crystal with a purity of color unmatched in Ireland or England. Merchant ships sailed regularly from the port of Waterford with cargoes of crystal bound for Spain, the West Indies, New York, New England and Newfoundland. But less than 100 years later the initial company failed due to lack of capital and excessive taxation. In what seems a remarkably short time, Waterford Crystal acquired an unequaled reputation that has transcended the intervening centuries. Another century passed before the enterprise was revived. In 1947, while Europe was still in ruins after the second World War, a small glass factory was set up in Waterford just 1½ miles from the site of the original glass factory. Waterford Crystal today has very strong links with its illustrious predecessor. There is today the same dedication to the purity of color, to the same design inspiration and to the same pursuit of highest quality levels possible. The traditional cutting patterns made famous by the artisans of Waterford became the design basis for the growing product range of the new company. Waterford Crystal, today, is the leading brand of premium crystal. Its products — superb handcrafted crystal stemware, gift ware and lighting ware — are designed and manufactured to the highest standards.   « Less

Tiffany Studio Single Desk Blotter in the Diamond & Square Pattern Here we have a single Desk Blotter in the Diamond & Rectangle Pattern Signed "Tiffany Studios, New York"  More »

Tiffany Studio Single Desk Blotter in the Diamond & Square Pattern Here we have a single Desk Blotter in the Diamond & Rectangle Pattern Signed "Tiffany Studios, New York" , marked with the number 1796. Single ONE from a Pair of "Blotter End" and measure 19.24" long and are 2.24” wide. The Blotter is what seems to be brass on the back and Bronze on the top with a nice patina. This would be great as a framed designed work as well as a single Blotter on the top of a Desk Blotter. This Single Blotter is in very good condition with no visible sign of damage with touches of Verde Green to the patina. The Buyer will be delighted with their purchase.   « Less

Early 20 Century Meissen Pin Tray We have an Early 20 Century Meissen Floral Cabinet Plate with the blue cross swords, of second quality and no strike marks in the  More »

Early 20 Century Meissen Pin Tray We have an Early 20 Century Meissen Floral Cabinet Plate with the blue cross swords, of second quality and no strike marks in the trademark. (See pix) This treasure measures 4 inches square and 0.50 inches deep and signed with the cross swords with one strike mark. There are no signs of damage or repair. Meissen porcelain or Meissen china is the first European hard-paste porcelain that was developed from 1708 by Ehrenfried Walther von Tschirnhaus. After his death that October, Johann Friedrich Böttger, continued his work and brought porcelain to the market, and he has often been credited with the invention. The production of porcelain at Meissen, near Dresden, started in 1710 and attracted artists and artisans to establish one of the most famous porcelain manufacturers, still in business today as Staatliche Porzellan-Manufaktur Meissen GmbH. Its signature logo, the crossed swords, was introduced in 1720 to protect its production; the mark of the crossed swords is one of the oldest trademarks in existence. It dominated the style of European porcelain until 1756. At the beginning the Meissen manufactory was owned by the King of Saxony; by 1830 it came to belong to the State of Saxony. After World War II, most of the equipment was sent to the Soviet Union as part of war reparations. However, already by 1946, the workers using traditional methods and the kilns that had not been dismantled were able to resume production. The company became a Soviet Joint Stock Company in Germany. Almost all of the production was sent to the Soviet Union, a crucial step that kept the artisan community alive. After the establishment of the German Democratic Republic, the company was handed over to German ownership in 1950 and became a people-owned company.Meissen Porzellan turned out to be one of the few profitable companies in the economically troubled East German system, earning much needed foreign currency. After the German reunification in 1990, the company was restored to the State of Saxony which is the sole owner. While its products are expensive, the high quality and artistic value make Meissen porcelain very desirable by collectors and connoisseurs. The rarity and expense of Meissen porcelain meant that originally it could only be bought by the upper classes. Meissen took orders from the elites of Russia, France, England and other European countries. The European wealthy accumulated vast collections and when a wealthy class emerged in the United States people like the Vanderbilts started their own collections. Many of these collections then found their way into the world’s great museums.   « Less

Wedgwood Jasperware “Double Cameo; John Adams and the First Lady” Framed Josiah Wedgwood Jasperware “Double Cameo; John Adams and the First Lady”  More »

Wedgwood Jasperware “Double Cameo; John Adams and the First Lady” Framed Josiah Wedgwood Jasperware “Double Cameo; John Adams and the First Lady” Medallion; 2.25 inches tall and 1.75 inches wide mounted in a lovely Wedgwood frame and mounted or framed in a gold ornate frame; very impressive, frames size at 10.5 by 11.50. In good condition with no chips or cracks, circa 1978. Produced by Wedgwood (stamped as such) for the Franklin Mint for the Presidents of the United states, from George Washington to the President Jimmy Carter, in a limited production. Josiah Wedgwood (July 12, 1730 — January 3, 1795, born Burslem, Stoke-on-Trent) was an English potter, credited with the industrialization of the manufacture of pottery. He was a member of the Darwin — Wedgwood family, most famously including his grandson, Charles Darwin. Born the thirteenth and youngest child of Thomas Wedgwood III and Mary Wedgwood (née Stringer; d. 1766), Josiah was raised within a family of English Dissenters. He survived a childhood bout of smallpox to serve as an apprentice potter under his eldest brother Thomas Wedgwood IV. Smallpox left Josiah with a permanently weakened knee, which made him unable to work the foot pedal of a potter’s wheel. As a result, he concentrated from an early age on designing pottery rather than making it. In his early twenties, Wedgwood began working with the most renowned English pottery-maker of his day, T. Whieldon. There he began experimenting with a wide variety of pottery techniques, an experimentation that coincided with the burgeoning early industrial city of Manchester, which was nearby. Inspired, Wedgwood leased the Ivy Works in his home town of Burslem and set to work. Over the course of the next decade, his experimentation (and a considerable injection of capital from his marriage to a richly endowed distant cousin, Sarah Wedgwood) transformed the sleepy artisan works into the first true pottery factory.   « Less

Wedgwood (4) “Double Cameo; Truman, Wilson, Eisenhower & Roosevelt and The First Ladies” Josiah Wedgwood Jasperware “Double Cameo; President Ford ,  More »

Wedgwood (4) “Double Cameo; Truman, Wilson, Eisenhower & Roosevelt and The First Ladies” Josiah Wedgwood Jasperware “Double Cameo; President Ford , Nixon and Carter and The First Ladies” Medallion; 2.25 inches tall and 1.75 inches wide mounted in a lovely Wedgwood frame and mounted or framed in a gold ornate frame; very impressive, frames size at 10.5 by 11.50. In good condition with no chips or cracks, circa 1978. Produced by Wedgwood (stamped as such) for the Franklin Mint for the Presidents of the United states, from George Washington to the President Jimmy Carter, in a limited production. Josiah Wedgwood (July 12, 1730 — January 3, 1795, born Burslem, Stoke-on-Trent) was an English potter, credited with the industrialization of the manufacture of pottery. He was a member of the Darwin — Wedgwood family, most famously including his grandson, Charles Darwin. Born the thirteenth and youngest child of Thomas Wedgwood III and Mary Wedgwood (née Stringer; d. 1766), Josiah was raised within a family of English Dissenters. He survived a childhood bout of smallpox to serve as an apprentice potter under his eldest brother Thomas Wedgwood IV. Smallpox left Josiah with a permanently weakened knee, which made him unable to work the foot pedal of a potter’s wheel. As a result, he concentrated from an early age on designing pottery rather than making it. In his early twenties, Wedgwood began working with the most renowned English pottery-maker of his day, T. Whieldon. There he began experimenting with a wide variety of pottery techniques, an experimentation that coincided with the burgeoning early industrial city of Manchester, which was nearby. Inspired, Wedgwood leased the Ivy Works in his home town of Burslem and set to work. Over the course of the next decade, his experimentation (and a considerable injection of capital from his marriage to a richly endowed distant cousin, Sarah Wedgwood) transformed the sleepy artisan works into the first true pottery factory.   « Less

Wedgwood (3) “Double Cameo; President Ford, Nixon and Carter and the First Ladies" Josiah Wedgwood Jasperware “Double Cameo; President Ford, Nixon and Carter  More »

Wedgwood (3) “Double Cameo; President Ford, Nixon and Carter and the First Ladies" Josiah Wedgwood Jasperware “Double Cameo; President Ford, Nixon and Carter and The First Ladies” Medallion; 2.25 inches tall and 1.75 inches wide mounted in a lovely Wedgwood frame and mounted or framed in a gold ornate frame; very impressive, frames size at 10.5 by 11.50. In good condition with no chips or cracks, circa 1978. Produced by Wedgwood (stamped as such) for the Franklin Mint for the Presidents of the United states, from George Washington to the President Jimmy Carter, in a limited production. Josiah Wedgwood (July 12, 1730 — January 3, 1795, born Burslem, Stoke-on-Trent) was an English potter, credited with the industrialization of the manufacture of pottery. He was a member of the Darwin — Wedgwood family, most famously including his grandson, Charles Darwin. Born the thirteenth and youngest child of Thomas Wedgwood III and Mary Wedgwood (née Stringer; d. 1766), Josiah was raised within a family of English Dissenters. He survived a childhood bout of smallpox to serve as an apprentice potter under his eldest brother Thomas Wedgwood IV. Smallpox left Josiah with a permanently weakened knee, which made him unable to work the foot pedal of a potter’s wheel. As a result, he concentrated from an early age on designing pottery rather than making it. In his early twenties, Wedgwood began working with the most renowned English pottery-maker of his day, T. Whieldon. There he began experimenting with a wide variety of pottery techniques, an experimentation that coincided with the burgeoning early industrial city of Manchester, which was nearby. Inspired, Wedgwood leased the Ivy Works in his home town of Burslem and set to work. Over the course of the next decade, his experimentation (and a considerable injection of capital from his marriage to a richly endowed distant cousin, Sarah Wedgwood) transformed the sleepy artisan works into the first true pottery factory.   « Less