A few examples of appraisal values for
HENTSCHEL

• William E. Hentschel for Rookwood
  William E. Hentschel for Rookwood Pottery. Jewel Porcelain vase with fish. 1934, glazed porcelain. 6½ h × 4 dia in. result: $813. estimate: $800–1,200. Impressed manufacturer's mark, date, and artist's cipher to underside ‘Flame mark S WEH’. Provenance: Important Private Collection, New York
• William E. Hentschel for Rookwood
  William E. Hentschel for Rookwood Pottery. Modeled Mat floor vase. 1912, glazed earthenware. 25½ h × 12 dia in. estimate: $1,500–2,000. Impressed signature, date and number to underside ‘Flame mark XII 1828 WEH’.
• William E. Hentschel for Rookwood
  William E. Hentschel for Rookwood Pottery. Jewel Porcelain vase with fish. 1934, glazed porcelain. 6½ h × 4 dia in. estimate: $1,000–1,500. Signed and dated ‘Flame mark/S/WEH’.
• ROOKWOOD ISLAMIC JAR, WM.
  ROOKWOOD ISLAMIC JAR, WM. HENTSCHELRookwood Islamic Aesthetic jar, possibly scent jar, by William E. Hentschel (1892-1962), working 1907-1939, Flame mark/XXI/479/WEH, 5 1/2" H. Provenance: From the collection of Edward S. Thompson, formerly of Columbus, Ohio and Maryville, TN, deceased 1979, by descent to present owner. (Higher-resolution photos are available at www.caseantiques.com) Condition: Original lid missing. Very good condition. No issues detected under blacklight examination.
• 1926 HENTSCHEL ROOKWOOD VASE,
  1926 HENTSCHEL ROOKWOOD VASE, SIGNED / NUMBEREDRookwood Pottery Vase by William Ernst Hentschel (1892-1962) dated 1926. Signed, numbered, and dated on base. A striking and quite sizable glazed ceramic vase decorated with blooming pink flowers - all outlined in cobalt blue and embellished with lustrous layers of emerald green glaze with bands of cobalt framing the floral imagery at the upper and lower ends. The vessel is marked with the Rookwood logo (a back-to-back "R" and "P" surrounded by flames) on the base, "XXVI" to indicate the date 1926, identifying shape number "1095 A", and a "WEH" (William Ernst Hentschel) artist's mark. A stunning glazed ceramic vase by Rookwood artist William Hentschel that reflects the zeitgeist for organic motifs during the Arts and Crafts Movement! Size: 6.75" in diameter x 17.3" H (17.1 cm x 43.9 cm) The Rookwood Pottery Company was founded in 1880 by the artist Maria Longworth-Nichols who created a world-renowned ceramic studio in Cincinnati, Ohio that attracted many reputable artists and ceramicists. Born in New York on June 16, 1892 William Ernst Hentschel studied art at the Art Students League and Columbia University in New York City, the University of Kentucky, as well as the Cincinnati Art Academy. Hentschel worked as designer at Rookwood Pottery from 1913 until 1932, creating both incised and molded pieces. He also taught at the Cincinnati Art Academy from 1921 until 1957 and developed his own printmaking technique (aquetone) in 1928 in which he used an airbrush with numerous stencils. Hentschel's artwork was exhibited at the Closson Gallery (1929), Roullier's Gallery in Chicago (1930), the Traxel Galleries in Cincinnati (early 1930s), and the Cincinnati Art Museum (1932). Provenance: ex-Nancy and Dr. E.F. Simpson collection, Los Angeles, California, USA, acquired from 1970 to 2000 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #172495 Condition: Vase is marked with the Rookwood logo (a back-to-back "R" and "P" surrounded by flames) on the base, "XXVI" to indicate the date 1926, identifying shape number "1095 A", and a "WEH" (William Ernst Hentschel) artist's mark. Periphery of base is slightly rough, perhaps from removing from the kiln. Very minor scuffs, spalls, and stains from former labels. Otherwise excellent.
• KONRAD HENTSCHEL FOR MEISSEN
  KONRAD HENTSCHEL FOR MEISSEN Meissen porcelain figure of a young girl holding a cat, marked with blue crosswords underglaze, incised W121 on reverse, a model by reknown Meissen artist Konrad Hentschel (1872-1907); 4.5"H; Condition: loss to her apron knot on backside
• A Meissen Porcelain Figural Group
  A Meissen Porcelain Figural Group of Four Children, by Konrad Hentschel Early 20th Century with underglaze mark and incised numbers 73373 The Marilyn Eber Collection, Denver, Colorado
• A Meissen Porcelain Figure of a Boy
  A Meissen Porcelain Figure of a Boy Drinking From a Blue Onion Bowl After the Model by Konrad Hentschel, Early 20th Century bearing crossed swords in underglaze blue and incised W118 to the underside. Height 6 1/2 inches. Property from the Carmen S. Holeman Trust, Indianapolis, Indiana
• REGINALD LESLIE GROOMS, AMERICAN
  REGINALD LESLIE GROOMS, AMERICAN (1900-1989), MAN IN A STRAW SKIMMER HAT WITH BEVERAGE, OIL ON BOARD, 24"H X 22"W (FRAME), 17 1/2"H X 15 1/2"W (SIGHT)Reginald Leslie Grooms, American, (1900-1989) man in a straw skimmer hat with beverage, oil on board signed lower left. Provenance: From a private collector in Zionsville / Indianapolis. The following is a brief biography written for the Cincinnati Art Club newsletter called The Dragonfly in June 1973: The article is by Gene Hinckley, Historian of the Cincinnati Art Club: FOCUS ON THE ARTIST - REGINALD GROOMS Reginald Grooms is an artist and an educator who has had considerable influence on a number of artists in this community. There is scarcely an exhibiting artist in the area who has not come under his teaching or guidance at least some time during his career. The mental challenge of Reggie's encyclopedic mind in the area of fine arts is appreciated by both the artist and the layman, as evidenced by the crowd in attendance at the Art Forum meetings that he conducts each month at the Art Club. Reginald Leslie Grooms was born in 1900 on Freeman Ave. in Cincinnati. At the age of two his family moved to Elmwood Place. His father was a well known wood engraver who had prepared the engravings for illustrations by Henry Farny for McGuffey's Eclectic Reader. At the age of four Reggie began painting in watercolor. His father use to work with him every Sunday afternoon. At the age of eight he began to paint in oils. All of his paintings were from his imagination. He received only one hour per week of art training while in public school. In 1917, he started studying art full time at the Cincinnati Art Academy. During the 5 years that he attended that school he studied drawing, painting, composition and design under John E. Weis, James R. Hopkins, Herman Wessel, Bessie Hoover Wessel, and William Hentschell. While at the Art Academy he received both the Louise Ingalls and the Fannie Harrison Scholarships. In 1923, Reggie went to Europe to study painting at the Academie Julian in Paris. He studied there for two years under Jules Pages, Henri Royer, and Paul Albert Laurens. While in Paris he exhibited in the Spring Salons of both 1924 and 1925 held at the Grande Palais (with 2 paintings accepted in each show). The New York Times reported that he was the youngest American exhibiting in those shows. Among the fewer than ten percent American students at the Academie Julian with Reggie were Ralph Mayer (author of the Handbook for Artists), and Grant Wood. After his second year in Paris, in 1925, Reggie was called back to Cincinnati to assume the position of instructor of landscape painting at the Cincinnati Art Academy Summer School. This was a position that he held for over 20 years. Also in 1925 he started as an instructor in painting and drawing at the University of Cincinnati School of Applied Arts. In 1945 he was made an Assistant Professor, in 1951 he became an Associate Professor and in 1955, he became the Albert P. Streitmann Professor of Art as well as the Chairman of the Fine Arts Department and the Chairman of the Arts Division. He held these chairmanship positions until 1965. In 1971 he retired from there after teaching for over 46 years. Since 1926 Reggie has taken a trip every year (except 2) to paint. These trips have ranged from several to Central America and the Caribbean in the early 30's to Europe (Spain, France, and Ireland) in later years, as well as Canada and numerous States in this country from California to New England, and the South. He's currently planning to return to Ireland, for the fifth time, this Fall. Reggie painted in oil until 1932, then he exhibited in egg tempera until 1957 when he started featuring watercolor painting and acrylic painting in his exhibits. Also in 1957 he started painting portraits in oil and in oleo-resin technique. He is still exhibiting in watercolor and is also actively involved in portrait painting. Reginald Grooms has had 33 one-man shows to date. Many were at the Closson Gallery here in Cincinnati; others were at Ball State Teachers College in Muncie, Ind., the University of Kansas Museum, the Charles Morgan Gallery in New York City, the Cincinnati Art Museum, and the Cincinnati Art Club. The largest one-man show that he had was a retrospective at the Alms Gallery at the University of Cincinnati in 1971. Some group shows that he has participated in were at: the Cincinnati Art Museum, the Butler Art Institute, the Pan American Fine Arts Exhibit (1935), both the New York and the San Francisco Worlds' Fairs of 1939, the Kearney Gallery in Milwaukee, the Chicago International Watercolor Exhibit (twice), Miami University, The Charleston, West Virginia Art Club, the Ohio Watercolor Society Traveling Show, the Pennsylvania Academy of Fine Arts, the Philadelphia Art Alliance (invitational), and the "Special Critics Choice" exhibit at the Cincinnati Art Museum. Reggie has juried a number of exhibits, including an All-West Virginia Show at Charleston, an All-Indiana Show at Indianapolis, and a Regional Exhibit at Huntington West Virginia. He is a member of the Scarab Club, the Cincinnati Professional Artists, the American Society for Aesthetics, the Cincinnati Chapter of the International Torch Club, the Ohio Watercolor Society, the Cincinnati McDowell Society, as well as the Cincinnati Art Club. He is listed in Who's Who in American Art, and is in the Blue Book of Leaders of the English Speaking World (published in London, 1970). Reggie is currently a member of the Board of Trustees of the Art Club, a position which he held previous to this term from 1926 continuously till 1958. He served as President of the Art Club from 1933-1935. Reginald Grooms died in 1989. oil on board Dimensions: 24"H x 22"W (frame), 17 1/2"H x 15 1/2"W (sight)
• A LARGE ROOKWOOD POTTERY VASE,
  A LARGE ROOKWOOD POTTERY VASE, WILLIAM ERNST HENTSCHELA large Rookwood pottery vase, William Ernst Hentschel, 1927 Marked for Rookwood; Further marked: WEH [William Ernst Hentschel] / XXVII / 2984 / Designed by William Ernst Hentschel, the urn-form Mat Modern vase in matte turquoise glaze with low relief purple foliate motif 16.5" H x 7.25" Dia. Dimensions: 16.5" H x 7.25" Dia.
• ROOKWOOD SLIP MATTE GLAZE POTTERY
  ROOKWOOD SLIP MATTE GLAZE POTTERY BULB, 1914, SIGNED BY WILLIAM ERNST HENTSCHEL, D: 8 1/4 IN. (21 CM.)Rookwood Slip Matte Glaze Pottery Bulb, 1914, Signed by William Ernst Hentschel,, From the Estate of Dr. James K. Hill, Big chip to foot Dimensions: D: 8 1/4 in. (21 cm.)
• HENTSCHEL MODEL 220 CHERRY
  HENTSCHEL MODEL 220 CHERRY GRANDFATHER CLOCK H: 75 1/2 IN. (191.77 CM.)Hentschel Model 220 Cherry Grandfather Clock, Dimensions: H: 75 1/2 in. (191.77 cm.)
• MEISSEN FIGURE OF A BOY DRINKING
  MEISSEN FIGURE OF A BOY DRINKING FROM A 'BLUE ONION' BOWL AFTER A MODEL BY KONRAD HENTSCHEL, 20TH CENTURYMeissen Figure of a Boy Drinking from a 'Blue Onion' Bowl, After a model by Konrad Hentschel, 20th Century With underglaze blue crossed swords mark, inscribed W118, impressed 111 and painted 68 in red. Height: 6-1/2 in (16.5 cm)
• MEISSEN PORCELAIN FIGURE OF A
  MEISSEN PORCELAIN FIGURE OF A GIRL AND CAT, 'HENTSCHEL-KIND'MEISSEN PORCELAIN FIGURE OF A GIRL AND CAT, 'HENTSCHEL-KIND', circa 1910, blue crossed swords mark, incised model no. W121, impressed65 and black painted 74, after a model by Konrad Hentschel (1872-1907) of 1905, the child depicted wearing Dutch costume with floral cap, white dress and slippers with yellow pompoms, seated on a blue stool, hugging a spotted cat who dangles in her arms, h: 4.75 in. Provenance: Estate of Ronald Sperling
• MEISSEN PORCELAIN MODEL OF A
  MEISSEN PORCELAIN MODEL OF A YOUNG CHILD WITH HOUND, 'HENTSCHEL-KIND'MEISSEN PORCELAIN MODEL OF A YOUNG CHILD WITH HOUND, 'HENTSCHEL-KIND', circa 1910, blue sword mark, incised model no. W123., impressed 42 and black painted 57, after a model by Konrad Hentschel (1872-1907) of 1905, the child seated in white shift, red and green plaid shirt and blue trousers, watching a puppy lap milk from a bowl, h: 3.5 x d: 6 1/8 in. Provenance: Estate of Ronald Sperling Literature: For a similar example, see Sabine and Thomas Bergmann: Meissen artist - figures, Vol. I, p. 247.
• THREE ROOKWOOD ART POTTERY VASES
  THREE ROOKWOOD ART POTTERY VASES / WILLIAM HENTSCHELTHREE ROOKWOOD ART POTTERY VASES / WILLIAM HENTSCHEL, Cincinnati, OH, date cyphers for 1930, 1946, 1959, impressed RP flame marks and model nos. 6053 with incised x, 6630 and 6431 with Cinci O, all with molded decoration including a frolicking deer vase designed by William Hentschel (1892-1962), in either high gloss turquoise or 'wine madder' glazes, h: 7.5 in. (the first vase) (3) Provenance: Estate of Ronald Sperling
• MEISSEN PORCELAIN FIGURE OF A
  MEISSEN PORCELAIN FIGURE OF A BABY ON A CUSHION, 'HENTSCHEL-KIND'MEISSEN PORCELAIN FIGURE OF A BABY ON A CUSHION, 'HENTSCHEL-KIND', 20th Century, blue crossed swords mark, impressed model no. U 150, 135 and indistinct cypher, after a model by Konrad Hentschel (1872-1907) of 1905, the child depicted seated with arms raised eating a biscuit, wearing a pink check dress and blue striped trousers, h: 5.25 x d: 6.25 in. Provenance: Estate of Ronald Sperling Literature: For a similar model, see Sabine & Thomas Bergmann, The Art of Meissen Figures, no. 466.
• ROOKWOOD ARTIST HENTSCHEL AIR
  ROOKWOOD ARTIST HENTSCHEL AIR BRUSHRookwood Artist Hentschel Air brush, Rookwood Artist Hentschel Air brush Pencil signed "Wm. E. Hentschel"; 7" T x 5" W image size; Original frame 11 1/2" T x 9 1/2" W; paper foil label from the Traxel Art Society in the Carew Tower in Cincinnati.
• LARGE ROOKWOOD ART POTTERY VASE
  LARGE ROOKWOOD ART POTTERY VASE Pattern 1660B, dated 1912, with incised initials of decorator, W. E. Hentschel; possibly an experimental piece, with firing flaws partly ground off, 13 1/2 in. H.
• ROOKWOOD CARVED MATTE GLAZED
  ROOKWOOD CARVED MATTE GLAZED BOWL, WILLIAM HENTSCHEL, CIRCA 1913 H: 5 1/4 IN. (13.3 CM.), D: 9 1/4 IN. (23.5 CM.)Rookwood Carved Matte Glazed Bowl, William Hentschel, Circa 1913, Numbered 494A Dimensions: H: 5 1/4 in. (13.3 cm.), D: 9 1/4 in. (23.5 cm.)
• § JOHN WADSWORTH (BRITISH
  § JOHN WADSWORTH (BRITISH 1879-1955) EXTENSIVE ARCHIVE OF ORIGINAL DESIGNS AND SKETCHES mixed media (pencil; pen and ink; watercolour; bodycolour) some 150 items in total, on various paper and card stocks, various dimensions, including 10 items signed by Wadsworth, the remaining material unsigned but most attributable either to Wadsworth or an associate on external evidence or stylistic grounds: 1) Signed items: a) Design for a Sun-Dial to be executed in Irish-Green Marble with Brass Fitting (watercolour; with caption); b) Design for an embroidered doyley (watercolour; with caption); c) Design for Wadsworth's personal bookplate (black and gold ink with lilac watercolour; mounted); d) Designs for decorative friezes (on a single sheet, red and black ink heightened with gold, possibly gold leaf); e) Repeating foliate design (sepia ink with pencil); f) Calligraphic Christmas card design ('With best wishes from Mr and Mrs J. W. Wadsworth, Xmas 1910' in black ink, with 'Draycott Le Moors, Stoke on Trent' in pencil); g) Cover design for an edition of Dante (black ink and pencil, annotations verso; together with another design, unsigned but near-identical); h-j) Three watercolour views (a country church; a view in the Colosseum; a crooked tree with cottages; the latter with heavy outlining and shading in black ink);2) Views (watercolours, 13 in total, including wooded landscapes, beach scenes, architectural studies, and boats moored in a harbour);3) Bookplate designs, including two for Leon V. Solon (on 20 sheets, a few containing multiple designs, together with a few printed specimens);4) Lettering specimens and copies of illuminated initials from medieval manuscripts (28 sheets, most with multiple designs);5) Pattern designs after historical fabrics (watercolours, 6 in total, annotated on verso '17th century Italian', 'Italian damask, 17th century', 'Linen, Italian, 16 century', '15 or 16th-century oriental', '16th century Renaissance', 'Velvet, Persian, 17th century');6) Exhibition catalogue or poster designs for the North Staffordshire Art Society (5 in total), together with 3 similar designs for the Catalogue of the Malvern Art Club Exhibition,1928, woodblocks differentially hand-coloured;7) Large collection of assorted designs and sketches, including various floral patterns and motifs, a vase, book illustrations and embellishments (including 4 designs for publisher's devices or colophons: 'FINIS' written within scrolling foliate cartouche; two satyrs embracing beneath text 'THE END'; large sketch of an angel and supplicant with the text 'Carl Hentschel & Co. Photo-engravers' at the head; an allegorical female figure with robe and shield beneath text 'Bemrose & Sons Ltd. Printers, Derby & London'), and numerous female figures, several sketches evidently preparatory (approx. 50 in total);8) 3 engraved Christmas cards from Leon V. Solon addressed in pencil to John Wadsworth (for 1903, 1905 and 1909, spotted); 2 photographs of works by Leon V. Solon (one of Elizabeth I, the other captioned verso 'Le bain des nymphes'), both signed in the negative, mounted and inscribed by Solon to Wadsworth in pencil on mount, heavily spotted; and 1 further engraving inscribed by Solon to Wadsworth in pencil (device for a menu at 'Uplands'?);9) Other items including: a copy of Wadsworth's Designing from Plant Forms, 1910, first edition, original cloth; 1901-2 syllabus for Macclesfield Techincal and Science School and School of Art (8vo, original decorative wrappers, front cover design signed J. W. Wadsworth); dust jackets possibly designed by Wadsworth, etc. This lot includes a typed letter to Phillips auctioneers from C. J. Hancock requesting a catalogue for the sale.(approx. 150)Provenance: 'The Ceramic Art and Paintings of John and Philip Wadsworth', the auction of their estate, Phillips, Knowle, 8th April 1992, various lots including 55, 89 etc.Note: John William Wadsworth is best remembered as a designer of ceramics, but this extensive collection of material is an engrossing record of his interest in other fields including book decoration, bookplate design and landscape painting, and promises to reward further study. Born in Macclesfield, Wadsworth studied at Stockport School of Art and the Royal College of Art. In 1901 he was appointed assistant art director to L. V. Solon at Mintons, designing Secessionist ware, and became full art director soon after in 1905. He was art director at Royal Worcester from 1915 until returning to Mintons in 1935, where he remained until his death.
• STEINWAY and Sons Limited Edition
  STEINWAY and Sons Limited Edition Tall Case Clock. Cherry Case Grandfather Clock with Brass face with lunar phases. Broken arch pediment. HENTSCHEL Label: Steinway Model 5100. Serial 5100-064-of 150. Edition of 150. The clock was hand carved by Hentchsel craftsmen. Includes a secret drawer with paperwork. Has several different chime settings, including Beethoven's Ninth Symphony, Ave Maria, and Westminster Chimes. Dimensions: H: 95 inches: W: 26 inches: D: 15.5 inches --- Condition: Not tested. Very light wear. Interior light does not light.
• William E. Hentschel for Rookwood
  William E. Hentschel for Rookwood Pottery (American, 1892-1962) Vase, 1914 glazed earthenware impressed manufacturer's mark, date mark and number '1782' to underside and with incised artist's initials 'WEH'. H 5 inches. Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, Indiana
• A Meissen Porcelain Figure of a
  A Meissen Porcelain Figure of a Seated Girl with Flowers by Konrad Hentschel 20th Century with underglaze mark and incised number 73371 and painted number 2800 length 8 1/2, height 7 inches The Marilyn Eber Collection, Denver, Colorado
• A Meissen Porcelain Figure of a
  A Meissen Porcelain Figure of a Baby Feeding ,by Konrad Hentschel Early 20th Century with underglaze mark and incised number 73355 height 5 1/8 inches The Marilyn Eber Collection, Denver, Colorado
• A Meissen Porcelain Figure of a
  A Meissen Porcelain Figure of a Girl with a Doll Stroller, by Konrad Hentschel Early 20th Century with underglaze mark and incised number W124 and 7244 height 4 3/4 inches The Marilyn Eber Collection, Denver, Colorado
• A Meissen Porcelain Figure of a Boy
  A Meissen Porcelain Figure of a Boy with Drum, by Konrad Hentschel Early 20th Century with underglaze mark and incised number 73365 height 8 inches The Marilyn Eber Collection, Denver, Colorado
• A Meissen Porcelain Figure of a Boy
  A Meissen Porcelain Figure of a Boy Drinking From Cup, by Konrad Hentschel Early 20th Century with underglaze mark and incised number W118 height 6 1/2 inches The Marilyn Eber Collection, Denver, Colorado
• A Meissen Porcelain Figure of a Boy
  A Meissen Porcelain Figure of a Boy on a Pull Toy, by Konrad Hentschel Early 20th Century with underglaze mark and incised number W120 and 723 height 7 inches The Marilyn Eber Collection, Denver, Colorado
• A Meissen Porcelain Figural Group
  A Meissen Porcelain Figural Group of a Child Feeding Dog, by Konrad Hentschel Early 20th Century with underglaze mark and incised number 73369 and 3111 height 3 1/2 inches The Marilyn Eber Collection, Denver, Colorado
• A Meissen Porcelain Baby Reading
  A Meissen Porcelain Baby Reading a Book, by Konrad Hentschel Early 20th Century with blue underglaze mark and incised number 73354 and 952 height 4 1/8 inches The Marilyn Eber Collection, Denver, Colorado
• Konrad Hentschel for Royal
  Konrad Hentschel for Royal Porcelain Manufactory Meissen. Hand painted porcelain figurine depicting a young girl dragging a doll model number X164. Circa 1905 marked on base with blue double crossed swords and other factory marks. Condition: good no chips cracks or repairs see images. Measures 6.5'' tall x 3.25'' wide. Shipping weight 1 lbs.
• Konrad Hentschel for Meissen
  Konrad Hentschel for Meissen porcelain figurine titled ''Child with Blue Onion Cup'' depicting a young boy drinking from a cup with a toy horse at his feet model number W118. Royal Porcelain Manufactory circa 1905 with an Art Nouveau style. Marked on base of boy's right foot and on base of boy's cup with blue double crossed swords mark. Also marked on base with other various factory or painter's marks. Condition: good no chips cracks or repairs see images. Measures 6.4'' tall x 3.6'' wide. Shipping weight 1 lb.
• Konrad Hentschel for Meissen
  Konrad Hentschel for Meissen circa 1905 porcelain figurine depicting a girl leaning over a doll and pram/stroller model number W124. Marked on base with Meissen blue double crossed swords mark and other various factory marks. Condition: good no chips cracks or repairs see images. Measures 5.2'' tall x 5.5'' long. Shipping weight 1.5 lbs.
• William Hentschel Rookwood Lamp
  William Hentschel Rookwood Lamp Base American . a Rookwood vase drilled for a lamp covered in matte?glaze decorated with stylized flowers and leaves executed by William Hentschel marked and impressed Rookwood logo shape No. 614B; ht.?14.75 in. the metal lamp hardware is inside the vase. Condition: Drilled and fitted for?a lamp with replaced bottom has rod fitting cemented to inside of base very heavy Small area with loss of glaze?along shoulder.? Crazing.??
• A French Faux Malachite and Gilt
  A French Faux Malachite and Gilt Bronze Mounted Bracket Clock I.I. Hentschel Strasbourg surmounted by a floral openwork finial above the circular enameled dial with Roman hours and Arabic minutes the whole with rocaille decoration throughout set on a conforming wall bracket. Height 44 inches.