A few examples of appraisal values for
REEDY

• LEONARD HOWARD REEDY (1899-1956), INDIAN
  LEONARD HOWARD REEDY (1899-1956), INDIAN MOUNTING A RUNNING HORSE WITH RIDER Title: Leonard Howard Reedy (1899-1956), Indian Mounting a Running Horse with Rider Medium: watercolor on paper Dimensions: 8 x 11 Framed dimensions: 17 5/8 x 21 5/8 x 1 3/8
• (2) LEONARD H. REEDY, (AMERICAN, 1899-1956)
  (2) LEONARD H. REEDY, (AMERICAN, 1899-1956) SOUTHWEST & PUEBLO SCENES Watercolor on paper. Each signed 'Leonard H. Reedy (lower left).
• CONNOR MCCREEDY (B. 1987): UNTITLEDBlack
  CONNOR MCCREEDY (B. 1987): UNTITLEDBlack and white photograph with hand-coloring, 2012, signed 'McCreedy' lower right, signed, dated and inscribed 'Dear Adam, Thank you for being a part of my journey! lots of love' on the back of the frame. 23 1/2 x 34 1/2 in. (sight), 25 x 36 in. (frame). Condition Apparently in very good condition. Not examined out of frame. Notwithstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• PAIR OF GEORGE III SILVER MEAT DISHESMark
  PAIR OF GEORGE III SILVER MEAT DISHESMark of William Pitts & Joseph Preedy, London, 1792; engraved with armorial. 11 3/4 x 16 in., 82.7 oz. approx. weight. Condition Wear, knife marks to the field. Rubbing to the armorial. Otherwise in good condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• CONOR MCCREEDY (SOUTH AFRICAN, B.1987).
  CONOR MCCREEDY (SOUTH AFRICAN, B.1987). "Blue Up Flow". Pigments on French linen. 2011. Signed, dated and inscribed on reverse. From a West Side, NYC collection. Dimensions: 78" h x 44" w. Condition: Good. Few minor surface scuffs and edge soil.
• LEONARD HOWARD REEDY (1899-1956): FOUR
  LEONARD HOWARD REEDY (1899-1956): FOUR WORKSLeonard Howard Reedy, 1899-1956 Four Works, each: watercolor on paper comprising "The Blizzard", "The Captured Stallion", "Two Crow Scouts" and "The Cheyenne Indian"; each signed each: watercolor on paper Dimensions: Each sight: 7 3/4 x 10 in. (19.7 x 25.4 cm.), Frame: 13 x 15 1/2 in. (33 x 39.4 cm.) Condition: Each framed under non-reflective glass or Plexi.
• Tsukioka Yoshitoshi (1839-1892), Tongue-Cut
  Tsukioka Yoshitoshi (1839-1892), Tongue-Cut Sparrow (Shita-kiri Suzume), Circa 1886 Showing the greedy old woman leaving the family of sparrows, carrying a basket thought to be treasure but in fact containing demons; colour diptych woodblock print, framed, image 13.5 x 17.9 in (34.4 x 45.5 cm) frame 20.7 x 24.7 in — 52.6 x 62.8 cm
• David Reekie. Greedy Man. 1991, cast
  David Reekie. Greedy Man. 1991, cast glass, metal. 7½ h × 6¼ w × 6 d in. result: $1,750. estimate: $2,000–3,000. Etched signature, title, and date to underside ‘David Reekie Pilchuck Jul 91 Greedy Man 1’. Provenance: Miller Gallery, Cincinnati | Private Estate, New York
• ROYAL DOULTON DICKENS SERIESWARE PLATE,
  ROYAL DOULTON DICKENS SERIESWARE PLATE, PECKSNIFFDepicts the greedy architect from 'Martin Chuzzlewit', standing in his luxurious room. D.2973. Royal Doulton Dickensware backstamps. Artist: Charles Noke Issued: 20th c. Dimensions: 1" H x 9.5 Manufacturer: Royal Doulton Country of Origin: England Condition: Age related wear.
• LEONARD REEDY STAGECOACH WATERCOLORLeonard
  LEONARD REEDY STAGECOACH WATERCOLORLeonard Reedy (American, 1899-1956). Watercolor on paper depicting a stagecoach traveling through the desert. Signed along the lower left. Sight; height: 7 3/4 in x width: 10 in. Matted; height: 12 in x width: 14 in. Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• JOHN H. KITTILA III & IV NANTUCKET FRIENDSHIP
  JOHN H. KITTILA III & IV NANTUCKET FRIENDSHIP BASKET, C...John H. Kittila III and IV Nantucket Friendship Basket, circa 1991, with Carved Ebony Scallop Shell, peg and knobs, signed upon the base "John H. Kittila III & IV Nantucket L.S. 1991, engraved on the interior of the lid "Mary Kay Reedy" Height 9 in. Diameter 7.5 in. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• PHILIPPE STARCK GREEDY TABLE LAMP, HAND
  PHILIPPE STARCK GREEDY TABLE LAMP, HAND PAINTED WITH TH...Philippe Starck Greedy Table Lamp, hand painted with three panels, having Euro dollar and yen, overall height 31 1/2 inches. Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• PAIR OF BRONZE FOX FORM S CANDLESTICKS,
  PAIR OF BRONZE FOX FORM S CANDLESTICKS, K. HEDGESReynard and Slyboots, both signed "Hedges 1992" and inscribed with title on bases, patinated bronze animal form candlesticks, 11 in. Note: Another cast pair sold at Brunk Auctions, November 9, 2019, lot 122 for $4,000. Possibly referencing Sir George Dasent, D.C.L, Tales from the Fjeld, A Series of Popular Tales from the Norse of P. Ch. Asbjörnsen , New York: G. P. Putnam’s Sons; (no date); pp. 33-41, "The Greedy Cat" Provenance: Private Collection, Middleburg, Virginia Condition: gold to reddish brown patina, wax accretion
• (15) TEXAS HISTORICAL REFERENCE BOOKS,
  (15) TEXAS HISTORICAL REFERENCE BOOKS, L.B.J.(lot of 15) Texas historical reference books, comprising: (1) "Laredo and the Rio Grande Frontier," J.B. Wilkinson, Jenkins Publishing Co., Austin, Texas, illustrations by E.M. (Buck) Schiwetz, 1975, tears to dust jacket, 456 pages; (1) "Rustlers' Hill: A Thrilling Narrative of the Texas Frontier," V.F. Taylor, The Naylor Company, San Antonio, Texas, 1953, illustrated, tears to dust jacket, 210 pages; (1) "Lone Wolf: The Only Texas Ranger Captain of Spanish Decent," Brownson Malsch, Shoal Creek Publishers, Inc., Austin, Texas, 1980, 224 pages; (1) "The Truth About Texas," Lewis Nordyke, Thomas Y. Crowell Company, New York, 1957, 276 pages; (1) "Texas Cattle Brands," edited by Gus L. Ford, Clyde C. Cockrell Co., Dallas, Texas, 1936, tears to dust jacket, 240 pages; (1) "A Texan Look at Lyndon: A Study of Illegitimate Power," J. Evetts Haley, Palo Duro Press, Canyon, Texas, 1964, 256 pages; (1) "Lyndon B. Johnson: A Memoir," George Reedy, Andrews and MC Meel Inc., New York, 1982, tears to dust jacket, 159 pages; (1) "Tales of the Tularosa," Mrs. Tom Charles, Alamogordo, New Mexico, 1954, illustrated, 70 pages; (1) "Farm and Ranch Spanish," George W. Kelly and Rex R. Kelly, 1960, covers detached but present, 241 pages; (1) "The History and Prehistory of the Colorado River," prepared by H.G. Wooldridge for the Lower Colorado River Authority, illustrated by Linda E. Koch, 24 pages; (1) "Three Men in Texas: Bedichek, Webb, and Dobie: Essays by their Friends in the Texas Observer," edited by Ronnie Dugger, University of Texas Press, Austin, Texas, 1967, tears to dust jacket, 285 pages; (1) "Flood to Faucet," Walter E. Long, The Steck Company, 1956, illustrated, 116 pages; (1) "The Texas Rangers Sesquicentennial Anniversary, 1823-1973," first edition, Heritage Publications, Inc., Fort Worth, Texas, 1973, pen signed to interior cover, illustrated, 176 pages; (1) "I'm Frank Hammer: The Life of a Texas Peace Officer," Gordon Frost and John H. Jenkins, The Pemberton Press, Austin, Texas, 1968, illustrated, tears to dust jacket, 305 pages; (1) "L.B.J: Images of a Vibrant Life," published by The Friends of the LBJ Library, Austin, Texas, 1973, color illustrations, tears to dust jacket, largest: approx 11.5"h, 9"w, 0.5"d, 17.75lbs total
• 18TH C. GEORGE III SILVER EPERGNE CENTERPIECE,
  18TH C. GEORGE III SILVER EPERGNE CENTERPIECE, 7PC Marks of William Pitts & Joseph Preedy (English, London, act. 1791-1799), 1791. Seven piece George III neoclassical Adams sterling silver oval epergne centerpiece in the, having a scrolled foliate reticulated navette-form double-arm center bowl, surrounded by five similarly decorated smaller circular and navette-form bowls on stands, the arched reticulated base rising on tapering fluted legs. The center bowl inscribed with "To/R. W. Woodruff/From His Associates In The/Coca-Cola Export Corporation". Marked appropriately. Note: Examples of the work of William Pitts & Joseph Preedy can be found in the Baltimore Museum of Art, Baltimore MD and Cleveland Museum of Art, Cleveland, OH. Catalog Note: This epergne decorated the dining room at the Windcrofte House on Tuxedo Road. Approx. h. 15.5", w. 21.25", d. 16.25; total approx. weight of 148.75 ozt. Ahlers & Ogletree, Inc. reserves the right to require payment for this Lot via secured funds such as wire transfer and/or certified check.
• A George III Silver Sideboard Dish Wm.
  A George III Silver Sideboard Dish Wm. Pitts & Jos. Preedy, London, 1792 hallmarked for Sterling on underside of border 44 ozt 1 dwt Diameter 15 3/4 inches. Property from the Estate of W.M. Bogdanowicz, Madison, Wisconsin and Naples, Florida
• LEONARD HOWARD REEDY (ILLINOIS, 1899-1956),
  LEONARD HOWARD REEDY (ILLINOIS, 1899-1956), PAIR OF WESTERN SCENES., WATERCOLORS ON PAPER, 8" X 10.75". FRAMED 15.5" X 18.5".LEONARD HOWARD REEDY, Illinois, 1899-1956, Pair of western scenes. One signed lower left and the other lower right "Leonard H. Reedy". Dimensions: Watercolors on paper, 8" x 10.75". Framed 15.5" x 18.5".
• NEEDLEWORK SAMPLER DATED 1835 16”
  NEEDLEWORK SAMPLER DATED 1835 16” X 15” SIGHT. FRAMED 19.5” X 18.5”.NEEDLEWORK SAMPLER, Dated 1835, Wrought by Elizabeth Ann Palmers. Rows of alphabets above a verse and maker's inscription "This work in hand my friends may have when I am dead and Gone. And Greedy worms my body eat in this you may read my name complete. Elizabeth Ann Palmers. Sampler finished. July. 6th 1835. E.A. Palmer was Born May 12th 1818.". Potted flowers and flower blossoms at lower margin. Dimensions: 16" x 15" sight. Framed 19.5" x 18.5".
• HONORE DAUMIER, FRENCH (1808-1879),
  HONORE DAUMIER, FRENCH (1808-1879), OH! IT IS AS IF WE WERE THERE, PLATE 27, BOOK PLATE PRINT, 8 /4"H X 9 1/4"W (SIGHT), 13 3/4"H X 14 1/4"W (FRAME)Honore Daumier, French, (1808-1879) Oh! It is as if we were there, plate 27, book plate print Initialed in the plate lower left. Biography from the Archives of askART: Honore Daumier was born in Marseilles, France on February 26, 1808. He was the son of a Marseille glazier who wrote a little poetry on the side and who thought so much of his own talent that in 1816 he decided to move himself and his family to Paris. Over the next dozen years, the family lived in eight different apartments in Paris. There was never enough money, and the experience of hard times would mark Daumier for life. At the age of twelve, Honore became a messenger boy for a process server's office and then a clerk for a bookstore - jobs that opened up to him every corner of Paris. He sketched everything he saw and finally started studying art with an academician whose idea of instruction was to have his pupils copy plaster casts hour after hour. "This is not life," said Daumier, and he struck out on his own. A year later, the boy enrolled in the Academy Suisse, an informal school where students could draw from the model in the mornings and still hold down jobs. Though Daumier was never a flamboyant bohemian, he was soon part of a group of young artists from the school, some of whom became lifelong friends. If the teenager didn't have the money for oils or canvas (presumably why so little of his student work survives), in studios and cafes he drew the way other people talked. Daumier was on his way to becoming one of the greatest draftsman who ever lived. The lithograph was a comparatively new art in those days, but it quickly became Daumier's bread and butter. He began turning out political cartoons for an ardently antiroyalist magazine called La Caricature. One cartoon portrayed King Louis Philippe as Gargantua gobbling up every last sou in France. For such indiscretions Daumier spent six months in prison. He was the first French artist to get to the hall of fame because the people liked his little drawings, instead of the aristocracy liking his big salon paintings. No sooner was he out again than he started producing more cartoons for another magazine. In 1846, at the age of thirty-eight, he married a young seamstress called Didine and settled down in an apartment on the Quai d'Anjou. There, in a bare attic studio, using crayons until they were so worn he could no longer hold them, and whistling the latest music-hall tunes, Daumier turned out lithographs of arrogant aristocrats, greedy landlords, sour-faced men and nagging wives, sinister lawyers and pompous judges. Sometimes his humor was gentle; occasionally it was savage; it was always perceptive. Daumier made lithographs, 3958 in all, until he went blind at sixty-five. But all along he was painting, though no more than a handful of his canvases were shown in public before the last year of his life. Compared with the more spectacular romantics, he seemed rough and unfinished. Nor did he understand the work of the new impressionists. He was a superlative draftsman whose brush drew spare and strong, and whose preoccupation was people. No matter how ordinary their acts, Daumier gave drama and dignity to their lives. He was ruthless in his candor, but his candor was born of concern. The painter Daumier was a rotund gentle person who cared far more for others than for himself. There were never any extras for Daumier. A year before he died at seventy, a group of friends, led by Victor Hugo, arranged a show of his paintings. It closed dismally with a deficit of 4000 francs. Daumier's most celebrated work was a series of 'Robert Macaire' published in the 'Charivari'. His graphic works are unsurpassed for clarity, expressiveness, truth to type and nervously rhythmic life. He did not draw directly from nature, but from human nature, and this he did as fully as any artist who ever lived. But he was thought for years unworthy to occupy a single foot of space at the official Salon's shows. One Saturday night at Theodore Rousseau's barn in the village of Barbizon, a gathering that included Corot, Millet,Daubigny, Diaz and Bayre, along with Daumier himself, voted to form their own anti-Salon Independent Artists' Society. No one ever represented with greater truth the varied type of Parisian character. He became blind in 1877, then died suddenly in 1879 of a stroke at Valmondois (Seine-et-Oise) in a house given him by Corot, the landscape painter. Compiled and submitted August 2004 by Jean Ershler Schatz, artist and researcher from Laguna Woods, California Sources: Time Magazine, July 7, 1961 and October 1, 1979 Peter Plagens in Newsweek, March 8, 1993 Pete Hamill in Art & Antiques Magazine, February 1993. book plate print Dimensions: 8 /4"H x 9 1/4"W (sight), 13 3/4"H x 14 1/4"W (frame)
• ALEXANDER VON JOST (AMERICAN 1888-1968),
  ALEXANDER VON JOST (AMERICAN 1888-1968), PORTRAIT OF ANNE WALLER REEDY, AGE 11 MONTHS, OIL ON CANVAS, FRAMED, 36 X 30-1/2 INAlexander Von Jost (American 1888-1968), Portrait of Anne Waller Reedy, Age 11 Months, Oil on Canvas, Framed, 36 x 30-1/2 in
• T. REEDY GLAZED STONEWARE VASE, HEIGHT:
  T. REEDY GLAZED STONEWARE VASE, HEIGHT: 14-1/2 INT. Reedy Glazed Stoneware Vase, Height: 14-1/2 in
• FRANK H. JEFFERIS OIL ON CANVAS REEDY
  FRANK H. JEFFERIS OIL ON CANVAS REEDY POINT BRIDGEFrank H. Jefferis (Delaware 20th c.), oil on canvas Reedy Point Bridge, signed lower right, 24" x 36". Condition: Good condition. No apparent damages or repairs.
• HONORE DAUMIER, FRENCH (1808-1879),
  HONORE DAUMIER, FRENCH (1808-1879), OH! IT IS AS IF WE WERE THERE, PLATE 27, BOOK PLATE PRINT, 8 /4"H X 9 1/4"W (SIGHT), 13 3/4"H X 14 1/4"W (FRAME)Honore Daumier, French, (1808-1879) Oh! It is as if we were there, plate 27, book plate print Initialed in the plate lower left. Biography from the Archives of askART: Honore Daumier was born in Marseilles, France on February 26, 1808. He was the son of a Marseille glazier who wrote a little poetry on the side and who thought so much of his own talent that in 1816 he decided to move himself and his family to Paris. Over the next dozen years, the family lived in eight different apartments in Paris. There was never enough money, and the experience of hard times would mark Daumier for life. At the age of twelve, Honore became a messenger boy for a process server's office and then a clerk for a bookstore - jobs that opened up to him every corner of Paris. He sketched everything he saw and finally started studying art with an academician whose idea of instruction was to have his pupils copy plaster casts hour after hour. "This is not life," said Daumier, and he struck out on his own. A year later, the boy enrolled in the Academy Suisse, an informal school where students could draw from the model in the mornings and still hold down jobs. Though Daumier was never a flamboyant bohemian, he was soon part of a group of young artists from the school, some of whom became lifelong friends. If the teenager didn't have the money for oils or canvas (presumably why so little of his student work survives), in studios and cafes he drew the way other people talked. Daumier was on his way to becoming one of the greatest draftsman who ever lived. The lithograph was a comparatively new art in those days, but it quickly became Daumier's bread and butter. He began turning out political cartoons for an ardently antiroyalist magazine called La Caricature. One cartoon portrayed King Louis Philippe as Gargantua gobbling up every last sou in France. For such indiscretions Daumier spent six months in prison. He was the first French artist to get to the hall of fame because the people liked his little drawings, instead of the aristocracy liking his big salon paintings. No sooner was he out again than he started producing more cartoons for another magazine. In 1846, at the age of thirty-eight, he married a young seamstress called Didine and settled down in an apartment on the Quai d'Anjou. There, in a bare attic studio, using crayons until they were so worn he could no longer hold them, and whistling the latest music-hall tunes, Daumier turned out lithographs of arrogant aristocrats, greedy landlords, sour-faced men and nagging wives, sinister lawyers and pompous judges. Sometimes his humor was gentle; occasionally it was savage; it was always perceptive. Daumier made lithographs, 3958 in all, until he went blind at sixty-five. But all along he was painting, though no more than a handful of his canvases were shown in public before the last year of his life. Compared with the more spectacular romantics, he seemed rough and unfinished. Nor did he understand the work of the new impressionists. He was a superlative draftsman whose brush drew spare and strong, and whose preoccupation was people. No matter how ordinary their acts, Daumier gave drama and dignity to their lives. He was ruthless in his candor, but his candor was born of concern. The painter Daumier was a rotund gentle person who cared far more for others than for himself. There were never any extras for Daumier. A year before he died at seventy, a group of friends, led by Victor Hugo, arranged a show of his paintings. It closed dismally with a deficit of 4000 francs. Daumier's most celebrated work was a series of 'Robert Macaire' published in the 'Charivari'. His graphic works are unsurpassed for clarity, expressiveness, truth to type and nervously rhythmic life. He did not draw directly from nature, but from human nature, and this he did as fully as any artist who ever lived. But he was thought for years unworthy to occupy a single foot of space at the official Salon's shows. One Saturday night at Theodore Rousseau's barn in the village of Barbizon, a gathering that included Corot, Millet,Daubigny, Diaz and Bayre, along with Daumier himself, voted to form their own anti-Salon Independent Artists' Society. No one ever represented with greater truth the varied type of Parisian character. He became blind in 1877, then died suddenly in 1879 of a stroke at Valmondois (Seine-et-Oise) in a house given him by Corot, the landscape painter. Compiled and submitted August 2004 by Jean Ershler Schatz, artist and researcher from Laguna Woods, California Sources: Time Magazine, July 7, 1961 and October 1, 1979 Peter Plagens in Newsweek, March 8, 1993 Pete Hamill in Art & Antiques Magazine, February 1993. book plate print Dimensions: 8 /4"H x 9 1/4"W (sight), 13 3/4"H x 14 1/4"W (frame)
• (2) WESTERN THEMED WATERCOLOR PAINTINGS.
  (2) WESTERN THEMED WATERCOLOR PAINTINGS. TOinclude: Leonard H. Reedy (1899-1956, Illinois) depicts a cowboy on pinto horseback, minimalist desert landscape background, signed lower right, sight size 10 3/4" x 7 1/2", overall with frame 17 3/4" x 14 1/2". Along with Joe de Yong (1894-1975, California, Montana, Missouri) depicting a full length portrait of a cowboy, flanked on either side by head portraits of two other men, perhaps the cowboy at different stages of life, possibly a costume design, signed mid-lower right, also reads "Harry Sherman Co" in the lower right, and "31-11-6 SABE" in the lower left, sight size 17 1/2" x 12 1/2", overall with frame 26 1/4" x 20 1/4". Both in overall very good condition.
• LEONARD HOWARD REEDY (AMERICAN, 1899
  LEONARD HOWARD REEDY (AMERICAN, 1899 - 1956) 8" x 11" "The Unsuspecting Trooper". Watercolor on paper, signed lower left, in a gilded frame with burlap matting with artist and title plate, overall 15 ¾" x 18 ¾".
• LEONARD HOWARD REEDY (AMERICAN, 1899
  LEONARD HOWARD REEDY (AMERICAN, 1899 - 1956) 8" x 11" "Catching up with the Outlaw". Watercolor on paper, signed lower right, in a gilded frame with burlap matting with artist and title plate, overall 15 ¾" x 18 ¾".
• English cut glass bowl on silver stand
  English cut glass bowl on silver stand 1798-1799 bearing the touch of Pitts & Preedy 9" h. 13 1/4" w. 16.7 ozt. ?
• Reedy Leonard Howard [American 1899-1956]
  Reedy Leonard Howard [American 1899-1956] watercolor painting of a cowboy roping a running steer signed l.r. "Leonard H. Reedy" and titled l.l. "The Bunch Quitter". 8"x11.5"
• Reedy Leonard Howard [American 1899-1956]
  Reedy Leonard Howard [American 1899-1956] Western watercolor of a cowboy lassoing a steer signed l.l. "Leonard H. Reedy". 8"x10.5"
• * A Studio Ceramic Sculpture Thomas
  * A Studio Ceramic Sculpture Thomas Reedy of abstract form having polychrome decoration throughout dated 1970. Height 14 1/2 inches.
• ART NOUVEAU STYLE PATINATED BRONZE TABLE
  ART NOUVEAU STYLE PATINATED BRONZE TABLE LAMP with modeled glass nautilus shell shade in reed frame held aloft by a maiden tapering to a shaped square reedy base electrified - h:15 in.
• Bronze sculpture of rising ducks (after
  Bronze sculpture of rising ducks (after Bayre) Continental 20th century with dark brown patina depicting two ducks taking flight from reedy marsh on oval marble base bearing signature Bayre. H14'' Provenance: Charleston South Carolina collection.
• Bronze sculpture of rising ducks (after
  Bronze sculpture of rising ducks (after Bayre) Continental 20th century with dark brown patina depicting two ducks taking flight from reedy marsh bronze on oval marble base unsigned H17'' W13'' Provenance: Charleston South Carolina private collection. Good original condition.
• Bronze sculpture of rising ducks (after
  Bronze sculpture of rising ducks (after Bayre) Continental 20th century with dark brown patina depicting two ducks taking flight from reedy marsh on oval marble base bearing signature Bayre. H14'' Back    Inquiry      Previous Item   Next Item © Charlton Hall Auctions.  Images descriptions and condition reports used on this site are original copyright material and are not to be reproduced without permission. For further information telephone 803.779.5678     © 2012 CHARLTON HALL GALLERIES INC.
• A Figural Tobacco Humidor of a Pig Holding
  A Figural Tobacco Humidor of a Pig Holding a Stein of Beer Terracotta humidor figure of a pig holding a full stein of beer with a greedy expression on his face marked in black "1764" underneath polychrome decorated.
• Leonard Howard Reedy (Illinois, 1899-1956),
  Leonard Howard Reedy (Illinois, 1899-1956), D