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747 |
Ballard #21 ovoid top rectangular vase
Vermont Studio potter Stanley Ballard (1917-1960) graduated from Alfred University’s highly respected Ceramic Program in 1939, having studied there under these influential teachers: Marion Fosdick, Charles Harder, Clarence Merritt, and C. Katherine Nelson.
From 1937-1939 he was a classmate of Glidden Parker. He had his studio in Burlington Vermont from 1946 -1960 until his untimely tragic death in February 1960.
Produced by Vermont Mid-Century studio potter Stanley Ballard who worked in the Burlington area, this shape seems to be one of the early ones by Ballard which didn't make it to the later production period. The vase measures 5 1/2 inches high x 5 1/4 inches wide. The opening is 4 1/4 inches long x 2 3/8 inches wide. Each one I own either has no shape number or is number 21 with the early chocolate brown band around the bottom dating it from his middle period of production. The chocolate underglaze cannot easily be seen at the top and underneath the mottling on the body as the leopard skin overglaze extends to the bottom of the vase. This early black leopard glaze is stunning. It is heavily mottled and covers the entire vase inside and outside except the base. The vase is in excellent condition. A very interesting shape and glaze combo by Stanley Ballard. Add it to your American Art Pottery collection or Studio pottery collection today. |
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2564b |
Noritake pearl lustre bonbon dish
Produced by the Noritake Company for export to the United States market, this Art Deco bonbon dish meaures 6 1/2 inches across and stands 1 1/4 inches tall. This is a really great example of the lustre ware that Noritake mastered and used. The most striking part of the dish is the pearl luster band between the black rim band and the central motif of a red blossom with highly stylized and unnaturally colored leaves. I particulary like the geometric background behind the flower. It all adds up to a great Art Deco Noritake item! It is signed with the cherry blossom mark and Made in Japan.
It is in excellent vintage condition. Add it to your Art Deco or Noritake collection today. |
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2807 |
Bitossi Bagni Raymor #2248 vase, Italy
Raymor #2248 red black vase, Italy, 11 inches tall, made by Alvino Bagni for Bitossi. I have seen the smaller 7 inch version of this vase with a black Raymor name and shape number on it as well as the incised ITALY on the bottom rim.
Excellent condition. |
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5030 |
Ballard bulbous studio mottled white vase
Vermont Studio potter Stanley Ballard (1917-1960) graduated from Alfred University’s highly respected Ceramic Program in 1939, having studied there under these influential teachers: Marion Fosdick, Charles Harder, Clarence Merritt, and C. Katherine Nelson.
From 1937-1939 he was a classmate of Glidden Parker. He had his studio in Burlington Vermont from 1946 -1960 until his untimely tragic death in February 1960.
Produced by Vermont Mid-Century studio potter Stanley Ballard who worked in the Burlington area, this Ballard squat bulbous mustard white vase with heavy mottling is one of Ballard's earliest examples I have found to date. I have another example of this shape which has the date 1945 on it. This vase has the recessed base and the S. Ballard in relief signature without the word Vermont which would come later. It is most likely from either 1945 or 1946. It also has a #10 in red pencil on it as well as three initials.
It stands 6 1/2 inches tall. The opening at the top is 3 1/2 inches. The glaze is the very early mustard white over the chocolate brown with very heavy mottling on the outside of the piece. The inside of the vase is glazed with the white glaze also. It is a great example of Ballard's early work. It is in excellent condition. |
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5088 |
Bovano early rectangular jewel dish
Produced by the Cheshire CT firm of Bovano (started in 1953 by John BOnsignor, Gene VAn Leight and Warren NOden), this is an early Bovano design and decoration. This item may well be from the transitional period of 1953 when the firm had just succeeded Brower as this shape of ashtray and type of jewels is more characteristic of Brower pieces than later Bovano pieces.
The ashtray measures 8 3/4 inches long x 5 1/3 inches wide. It is counterenamled in a gold and greenish brown color which is different from the later black Bovano counterenameling. The label has a different smaller B in a different font than most later Bovano pieces. It carries the same words: Handcrafted by Bovano of Cheshire Conn.
This ashtray has 7 variegated jewels, carefully arranged in a line. The layout of the colors and sizes of the jewels is perfectly symmetrical. The ashtray is in very good condition though there appears to be wear a stress line or two. A very interesting item from a great firm.
Add it to your Mid Century enamel collection today. |
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5089 |
Bovano small early studio jeweled dish
Produced by the Cheshire CT firm of Bovano (started in 1953 by John BOnsignor, Gene VAn Leight and Warren NOden), this is an early Bovano design and decoration. This item may well be from the transitional period of 1953 when the firm had just succeeded Brower as this size of dish and type of jewels is more characteristic of Brower pieces than later Bovano pieces, especially the rare use of white jewels.
This small dish measures 2 1/2 wide. It is counterenamled in a gold and greenish brown color which is different from the later black Bovano counterenameling. Though it has no label, I carries the inscribed name of Mary Decker, as did the two companion pieces I bought at the same time, each with a Bovano label on it.
This dish has 4 variegated jewels, carefully arranged, in a circular pattern. The layout of the colors and sizes of the jewels is perfectly symmetrical. The ashtray is in excellent condition. A very interesting item from a great firm.
Add it to your Mid Century enamel collection today. |
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4451 |
Ballard #50 3 Fish decorated square top vase
Vermont Studio potter Stanley Ballard (1917-1960) graduated from Alfred University’s highly respected Ceramic Program in 1939, having studied there under these influential teachers: Marion Fosdick, Charles Harder, Clarence Merritt, and C. Katherine Nelson.
From 1937-1939 he was a classmate of Glidden Parker. He had his studio in Burlington Vermont from 1946 -1960 until his untimely tragic death in February 1960.
Produced by Vermont Mid-Century studio potter Stanley Ballard who worked in the Burlington area, this is a Ballard #50 3 Fish decorated square top vase. |
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5115 |
Texas Ware #118 vintage green speckled bowl
These funky and highly collectibles mixing bowls were sold as a set in three sizes. They were made in Dallas, Texas by the Texas Ware Plastics & Manufacturing Company and are so marked in embossed letters on the bottom of each bowl.
This is the Texas Ware #118 chartreuse speckled mixing bowl in excellent vintage condition. Its main shade is a appealing chartreuse with what is considered heavy mottling featuring inclusions of deep red, teal, turquoise, yellow, black and white. Its main secondary color is daffodil yellow. Gorgeous glossy finish on the outside. Clean & shiny inside & out!! FREE of chips, cracks, burns OR discoloration. You will NOT be disappointed!!
Background on the line:
The largest bowl, the #125 measures 11 1/4 inches across and stands 5 1/4 inches tall. The middle bowl #118 measures 9 3/4 inches across and stands 4 1/2 inches tall. The smallest bowl #111 measures 8 inches across and stands 4 inches tall.
Recently one has seen a Texas Ware vintage speckled Melmac bowl on the counter of Rachael Ray's TV kitchen. In fact, in late 2007, Food Network is now having produced and marketing a "Garbage Bowl" in a deep pumpkin color under the Rachael Ray name. Crate & Barrel has also put out a set of melmac bowls under the line ZAK, but they just can't compare to the originals!
Add it to your Texas Ware or Mid-century Melmac collection today!
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5169 |
Kennedy Brothers Bristol pair cruets
Each of this pair of cruets measures 5 inches tall, not including the original vintage cork stoppers. They are done in a light olive green with the O for oil and V for vinegar incised in the mold. They feature a brown blended rim treatment also used by Vermont studio potter Stanley Ballard of Burlington Vermont. Each is signed with a black ink stamp which reads simply Kennedy Bros, Bristol Vermont. They are in excellent condition and a good example of Midcentury Vermont studio pottery. |
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5193 |
Very scarce Ballard # 87 10 1/4 inch Rooster Series plate
Vermont Studio potter Stanley Ballard (1917-1960) graduated from Alfred University’s highly respected Ceramic Program in 1939, having studied there while these influential teachers were on staff: Marion Fosdick, Charles Harder, Clarence Merritt, and C. Katherine Nelson.
He had his studio in Burlington Vermont from 1946 -1960 until his untimely tragic death in February 1960.
Produced by Vermont Mid-Century studio potter Stanley Ballard who worked in the Burlington area, this Ballard # 87 square plate measures 10 1/4 inches in diameter tall and is decorated with the Rooster motif, one of the three animal decorations from his Animal Line, the other two being Fish and Horse.
The Rooster has a speckled breast with the same colors as his body: scarlet, slate gray, turquoise, and cobalt blue. The Rooster motif is quite large and almost touches both the top and the bottom rim. Excellent condition |
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2960 |
Noritake Deco Bridge scene cake plate
Measuring 10 inches wide from handle to handle, this green wreath mark Noritake cake plate is stunning. It features the classic blue luster on the rim with gold at the outermost rim. It has cut out handles. In the middle is a classic Japanese scene but done in a bold Art Deco style and coloration. A pagoda or temple sits to the left connected by a bridge. Clarice Cliff like abstract trees at right, a black truned tree grows out of vegatation at the bottom of the plate. 24 karat gold, black and orage are the primary colors. The use of negative space is very Art Deco. It is in excellent condition. Add it to your Noritake Art Deco collection today. |
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4152 |
Consolidated Regent aqua 1154 vase
Part of the Regent line made by Consolidated in the early to late 1940s, this 4 1/2 inch tall Sweat Pea vase owes its shape to the earlier Catalonian Spanish Knobs line. In the Regent line, it is shape 1154.
Aqua cased in white and having a glossy finish. This vase is shown in a catalog reprint in Jack Wilson's 1989 book on page 151, where it is shape number 1154. It is scarce, as are all Regent cased pieces. Excellent condition. |
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5207 |
Ballard #58 early footed round planter vase
Vermont Studio potter Stanley Ballard (1917-1960) graduated from Alfred University’s highly respected Ceramic Program in 1939, having studied there under these influential teachers: Marion Fosdick, Charles Harder, Clarence Merritt, and C. Katherine Nelson.
From 1937-1939 he was a classmate of Glidden Parker. He had his studio in Burlington Vermont from 1946 -1960 until his untimely tragic death in February 1960.
Produced by Vermont Mid-Century studio potter Stanley Ballard who worked in the Burlington area, this #58 round footed planter vase stands 3 3/8 inches tall and is 3 3/4 inches wide at the top. It is in a deeply mottled white glaze over chocolate. The signature is a very early one as it is incised and not molded. These round shapes did not make it into Ballard's later production ware, post 1946. It is in excellent condition. Add it to your Ballard or Midcentury American pottery collection today. |
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5369 |
Ballard early 1945 #1 4 rest ashtray
Vermont Studio potter Stanley Ballard (1917-1960) graduated from Alfred University’s highly respected Ceramic Program in 1939, having studied there under these influential teachers: Marion Fosdick, Charles Harder, Clarence Merritt, and C. Katherine Nelson.
From 1937-1939 he was a classmate of Glidden Parker. He had his studio in Burlington Vermont from 1946 -1960 until his untimely tragic death in February 1960.
Produced by Vermont Mid-Century studio potter Stanley Ballard who worked in the Burlington area, this #1 size small ashtray is from Ballard's earliest studio period. It features the earliest blue glaze over the chocolate underglaze. It has no number but has the earliest embossed in relief Ballard 1945 signature with the long tail. Excellent condition. |
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5416 |
David Gil Coop design teardrop French Horn
Here is a whimsical modern stoneware piece from the late David Gil at Bennington Potters in Vermont. started by David Gil in 1948. It is from the pre-1960 time period when Gil used only the words Design Cooperative, or in this case only the letters CO OP around the hand mark.
David Gil Coop Design #1202 7 inch teardrop French horn player in signature teal glaze, with the COOP Man/hand logo. rough unglazed rim. There is still a shadow that can be seen of the Raymor paper label on bottom which states: MODERN in the Tradition of Good Taste: Raymor, designed by David Gil for Cooperative Design. The label is present on a few of the other four designs in this teardrop series. Excellent condition.
I recently learned that when Gil decided to mark his works with shape numbers, he started with the number 1300. However, if an earlier design was to remain in production, they marked it with a number starting with 1200. This explains the numbering and mark on the transition pieces.
They are among the few American studio potteries that turned into production potteries in the midcentury. It evolved into a co-operative of different art potters.
After 1960, they made their bread and butter by making gorgeous modern styled dinnerware that was distributed throughout the US and sold in fine department stores.
In their 1964 catalogue, Gil described their creations as "Art Objects in the Practical Realm" - Museum Honored, Hand-crafted, Modestly Priced,"
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5420 |
Scatchard early studio large hanging planter
This Georges Scatchard early 5 inch tall x 7 3/4" wide hanging planter is a good example of the work that Scatchard was doing in the 1970s and early 1980s before he decided to concentrate primarily on lamps. The rim has three holes for hanging. Ah, remember macramé!! There are another three drainage holes in the bottom of the planter which would carry excess water to the attached underplate. The inside rings clearly on this hand thrown piece as well as the body of the stoneware itself and where the drip glaze was place. You can see all the ridges of the hand thrown object. The outside of the goblet is done in tans and beiges and one can see both inclusions and the horizontal rings from the throwing. The overglaze on this piece is done in shades of blues and greens and has an abstract design. The plnater is signed on the unglazed bottom G. SCATCHARD. A beautiful early piece.
Currently located in Underhill, Vermont, Georges Scatchard started from a converted horsebarn with his brother Ted in 1960. An article about the two Scatchard brothers and their ceramics was published in the 1967 Spring issue of Vermont Life on pages 38-42. According to the article, he was the only New Englander to receive a merit award for three items (all pottery) entered in the 1965-1966 New England Craft Council's exhibition for new and emerging craftsmen.
His current website, gslamps.com, shows his current production and gives a brief history of his work. |
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5430 |
toothpick holder: Crider 1977 white threaded
Terry Crider started his glasswork in 1976. He is self taught. This studio glass artist has put out a limited amount of work over the past 33 years. He stopped blowing glass around 1990 and didn't start blowing again until 1999. He uses NO MOLDS and his only help has been his wife Donna who is responsible for all the finish work on the pieces. I had an email from Terry and Donna in 2002 stating that he doesn't think it would be fair to the collectors to make any of the same things again. They decided in 2006 to make glass again, but they are not going to make anything that they have made in the past. They pledge to develop new colors. He's a great artist with VERY few early pieces out there. This toothpick holder is in mint condition and is signed Terry Crider and dated 1977 on the base. That is only one year after he started blowing glass commercially!
This Terry Crider 1977 TP is done in a highly irridescent amethyst base glass with 4 thick iridized white pulled feathers all of which are iridized. I like that each of the pulled feathers has its own character. It also features the very early crimped top rim What makes this early Crider toothpick holder even more unusual is that white threaded glass has been added to the outside. It is one of only two I have seen with white glass used as threading. Later, Donna tended to use the same color for the threading as the base glass. It's hard to imagine the amount of work that went into this beautiful, hand made toothpick holder.
This toothpick holder stands about 2 1/2 inches high. The top rim is 1 7/8 inches wide. It is a fantastic piece of American 20th century art glass! It is in perfect condition.
I am a long time member and past President (1988) of the National Toothpick Holder Collectors Club. I guarantee the authenticity of this TP. For more info on toothpick holders as a great collectible, visit the National Toothpick Holder Collectors Society web page at (www.nthcs.org) |
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299 |
Jacques Potin "Les Parasols Rouges"
Jacques Potin "Les Parasols Rouges" lithograph. Potin was born in 1920. A very similar but smaller 11 x 13¾ in. (27.9 x 35 cm.), unframed painting was Lot 66 at a Christie's 2008 auction. This lithograph itself measures 20 inches wide x 14 3/4 inches high. The mat is 4" wide and the frame measures 27 inches x 22 inches. The lower left is artist-signed "Epreuve d'artste" (Artist's Proof) and the lower right Jacques Potin in pencil.
The back has the title, the word Lithographie in French and the artist's signature. On the stretcher is a piece of green paper with "Lithograph, Detruit, Paris" and a red paper star attached to it. Now "detruit" means destroyed in French, so not sure to what the "detruit" refers. Also, there is a paper label of the framer Lexington Gallery in New York City as well as the Skinner Gallery label which states 1378 Lot !5. That is where I purchased it in 1991 for $275.00. It is in good shape though the frame bottom corners seem a bit loose but that is how I purchased it at Skinner's. |
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5429 |
toothpick holder: Crider 2009 amber cobalt
Terry Crider started his glasswork in 1976. He is self taught. This studio glass artist has put out a limited amount of work over the past 33 years. He uses NO MOLDS and his only help has been his wife Donna who was responsible for all the finish work on the pieces. I had an email from Terry and Donna a few years ago stating that he doesn't think it would be fair to the collectors to make any of the same things again. They have decided, if they do make glass again, they are not going to make anything that they have made in the past. He made glass part time from 1988-2000. In 2005, he began again to produce a limited amount of glass. He's a great artist with VERY few early pieces out there. This toothpick is in mint condition and is signed Crider 2009.
This Crider amber at top to cobalt at bottom base glass features white applied swirling King Tut decoration on the bulge base flared top shape. It's hard to imagine the amount of work that went into this beautiful, hand made toothpick holder.
This little toothpick holder stands about 2 1/4 inches high at its highest point. The outside is completely irridized producing green, purple and blue highlights It is a fantastic piece of American art glass! It is in perfect condition. It is signed Crider 2009 on a frosted base.
I am a long time member and past President (1988) of the National Toothpick Holder Collectors Club. I guarantee the authenticity of this TP. For more info on toothpick holders as a great collectible, visit the National Toothpick Holder Collectors Society web page at (www.nthcs.org) |
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5507 |
Patrick Kennedy Newark Vermont covered jar
Standing 4 1/4 inches tall x 3 1/2 inches wide, this Vermont contemporary deepy incised decorated covered jar was made by Patrick Kennedy of Newark Vermont as his label on the bottom clearly states. He also has a stamped symbol which I can see now is a conjoined P and K to form his stamp.
This is a covered jar glazed on the inside but left rough on the outside. The deep chocolate brown layer can be seen through the cameo cuttings on the outside layer. Very interesting. I could find little on the artist. If you have any information, please pass it along.
Add it to your Vermont Art Pottery or Contemporary Pottery collection today. |
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