A few examples of appraisal values for
SANTA S WORKSHOP

• MECHANICAL BAVARIAN SANTA'S ELF
  MECHANICAL BAVARIAN SANTA'S ELF AT WORKBENCHCharming 1940's mechanical bearded elf hammering pieces of wood at workbench in yellow shirt blue pants with red hat in working condition; surely he is working in Santa's Workshop 32'' h. 24'' x 18'' base very good condition. Private collection Metamora MI.
• Ten Exhibition Posters for
  Ten Exhibition Posters for Political Art and Workshops Paul Gadegaard (Danish, 1920–1996)Living and Learning / in Scandinavia, A Year in / Denmark,Norway or Sweden, 1957Off-set lithographic posterOverall: 24 x 16 1/2 inches (61 x 41.9 cm). Paul Gadegaard (Danish, 1920–1996)Living and Learning / in Scandinavia / A Year in / Denmark,Norway or Sweden, 1957Off-set lithographic posterOverall: 19 1/2 x 16 inches (49.5 x 40.6 cm). Paul Gadegaard (Danish, 1920–1996)Living and Learning / in Scandinavia / The Scandinavian /Seminar, 1956Off-set lithographic posterOverall: 19 1/2 x 16 inches (49.5 x 40.6 cm). George Holt, AmericanArt Workshop, Bennington College, 1960Off-set lithographic posterOverall: 20 x 14 inches (50.8 x 35.6 cm). Otto Piene (German, 1928–2014)Piene / The Proliferation of the Sun / Walker Art CenterMinneapolis / Opening Light-Motion-Space / April 8, 1967, 1967Off-set lithographic posterOverall: 36 x 24 inches (91.4 x 61 cm). AmericanNeo York / 11 Nov-16 Dec 1984 / 3 locations at the Universityof California, Santa Barbara Street Party and Art Preview, 1984Off-set lithographic poster (mailer)Overall: 33 x 22 inches (83.8 x 55.9 cm). Mount Holyoke College Art Museum, South Hadley, MAThe Shadow of the Bomb / A joint exhibition / April 1 - June 10, 1984 / Mount Holyoke College Art Museum / South Hadley, Massachusetts / University Gallery / Fine Arts Center /University of Massachusetts at Amherst, 1984Off-set lithographic poster (mailer)Overall: 22 x 17 inches (55.9 x 43.2 cm). Joel-Peter Witkin (American, b. 1939)Joel-Peter / Witkin / Fraenkel Gallery, San Francisco, October17 - November 24, 1984, 1984Off-set lithographic poster (mailer)Overall: 18 x 15 inches (45.7 x 38.1 cm). Fine Arts Center, University of Massachusetts, AmherstAn Exhibition in Conjunction with the Symposium / Racism / Sexism / Same Game--Different Name? / February 6 - March 20, 1981 / University Gallery, Fine Arts Center, University ofMassachusetts at Amherst, 1981Off-set lithographic poster (mailer)Overall: 21 1/4 x 16 1/2 inches (54 x 41.9 cm). Museum of the Borough of BrooklynPolitics in Art: / The Art of Politics / Our Rights and OurLiberties / Oct. 23 to Dec. 4, 1984 / Museum of the Borough of Brooklyn, 1984Off-set lithographic posterOverall: 30 x 24 inches (76.2 x 61 cm). Property of a Midwestern Art Museum
• ? AN UNRECORDED ITALIAN [URBINO]
  ? AN UNRECORDED ITALIAN [URBINO] ISTORIATO MAIOLICA DISH, ATTRIBUTED TO NICOLA DA URBINO, CIRCA 1520-23 SAMSON AND DELILAH Depicting the treacherous Delilah, with scissors and holding to one side the locks of hair she has cut from the kneeling Samson, inscribed on the bench and the wall behind ‘DALIDA’ and ‘SANSON’, the single large shoe in the foreground referring to Samson’s now lost physical strength and size, or it could be the jaw of an ass, a symbol of his previous victories.27.2cm diameter, 5.3cm highProvenance: From the collection of James Ewing (1775-1853) Strathleven House, Dunbartonshire, by descent and by inheritance to the present owners. An inventory of 1926 lists the dish along with another [also offered for sale here] as being framed in “Quaint Gilt Circular Frames” and valued at £300.Ewing, a Glasgow merchant with antiquarian interests and contributions to the historical and literary Maitland Club, was closely involved with civic affairs as director of Glasgow’s Chamber of Commerce. In 1832 he served as Lord Provost of Glasgow and as a Glasgow MP. Marrying late and in his 60s, he accompanied his young wife on a tour of Europe and Italy in 1844-5. Correspondence in connection to this trip was later privately published as a memoir by the Reverend MacIntosh Mackay in 1866. Within these letters there are few references to Ewing acquiring or buying art, although it was at this time that he bought several significant pieces, one being the Portrait of Jacopo Dolfin by Titian, now in the Los Angeles County Museum of Art.[1] He does however mention, in a letter from Florence on the 27th November 1844, purchasing “China pieces of the fourteenth century” when he was in Genoa a few weeks previously.[2] This gives us some evidence that he acquired maiolica at this time and it seems likely that this is how he came to acquire this dish and the other in this sale.[1]Humfrey et al., p122 Cat34 and p416[2]Rev Macintosh Mackay, LL.D. p152 Note: Nicola di Gabriele Sbraghe, potter and workshop owner (active 1520-1537-8), is acknowledged as the master of the ‘istoriato’ style of maiolica decoration in early 16th century Italy. Consensus describes him as the “Raphael of maiolica painting”.[1] His graceful fluid draftsmanship, lyrical figure drawing, understanding of recessional space, and use of contemporary classically inspired Renaissance architectural views are all characteristic of his style and are well illustrated here. Overall, his knowledge of the work of his contemporary Raphael, who died in 1520, and his circle in Rome, is evidenced by a print by Giovanni Antonio da Brescia, who also worked in Rome at this time [see figure 1]. The print, from 1510-20, is a circular engraved composition in reverse of this subject.[2] Both potter and printmaker appear to have knowledge of an unknown original narrative image of this subject matter, now lost. As is sometimes the case with Nicola, some of the figures in this piece hint of an even more direct knowledge of Raphael’s early work.[3]This dish and other early work by Nicola are related very closely to a monogrammed and dated dish of 1521 with the figure of a seated sovereign, now in the Hermitage Museum, St Petersburg,[4] to a dish illustrating the Calumny of Apelles in the Ashmolean Museum Oxford (dated by Wilson to 1522-3),[5] and to a plate of Venus, Mars, Apollo, and Vulcan now in the Kunstgewerbemuseum Berlin.[6] Above all, however, it relates to an acclaimed service or credenza encapsulating Nicola’s early poetical style made for an unknown client consisting of seventeen surviving pieces donated to the city of Venice by the patrician Teodoro Correr after his death in 1830.[7] This is the largest surviving set of 16th Century ‘istoriato’ maiolica in the world in a single collection. The service, even quite recently, has been described as “one the loveliest achievements of all maiolica-painting”.[8] There may be reasons on grounds of subject matter and style to speculate that this plate may originally have been part of this service.In the 19th century the Correr maiolica service was thought by scholars to have been painted by the Urbino painter Timoteo Viti (1469-1523) and was seen as the jewel in the crown of the Correr collection. The painting style of Nicola’s early work that we have here seems to stylistically reference his work in the broadest sense. Viti, trained in the dynamic humanist artistic background of Bologna under Francesco Francia, is known to have worked with Raphael in the Chigi Chapel in Santa Maria della Pace in Rome circa 1511. As a friend of Raphael, Viti is reputed to have obtained or inherited the most important group of Raphael’s studio drawings and to have brought them back to Urbino after Raphael’s death. He himself died in 1523. Nicola’s knowledge of Raphael’s style of work may in part be due to links with Viti whose workshop in Urbino he may have frequented or where he may have even trained.[9] Giovanni Antonio da Brescia copied and produced his own versions of the work of the Bolognese printmaker Marcantonio Raimondi (1480-before 1538). Raimondi had also trained under Francesco Francia and did more than anything to disseminate Raphael’s ideas in Italy and abroad from about 1510.It is unprecedented for maiolica from this early period of Nicola’s maiolica production to come on the market.[1] A description first coined by Wilson, 1987, p44. For a full catalogue raisonné of Nicola’s output see Mallet 2007, p199-250[2] Bartsch, vol XIII, p70,n.2 (BM reg. 1925,1215.104). We are grateful to the late Michael Bury for suggestions that led to the identification of this source.[3] For example the central figure of the armed philistine echoes in gesture and expression similar to figures round the tomb in Raphael’s early painting of The Resurrection of 1501-2, now in the Museo de Arte de Sao Paulo, Chapman, Henry and Plazzotta, 2004,Cat 21, p110[4] Wilson in Écouen, 2011, p158-9[5] Wilson, 2017, Cat 54, p158-9[6] See Hausmann, 1972, Cat 170, p230[7] All pieces from the Correr service are illustrated in Écouen, 2011 p 164-167[8] Wilson, 2017, p133.[9] Wilson in Écouen 2011, p160Literature:Bartsch, Adam. Le peintre graveur, Degen, Vienna, 1808-21Chapman, Hugo, Henry, Tom and Plazzotta, Carol. Raphael from Urbino to Rome, exh. cat., National Gallery, London, 2004Écouen 2011. Majolique. La faïence italienne au temps des humanistes, 1480-1530. Exb cat., Musée national de la Renaissance, Écouen, 2011Hausmann, Tjark. Majolika spanische und italienische Keramik vom 14. is zum 18.Jahrhundert (Katalogue des Kunstgewerbemuseum Berlin V1) Berlin, 1972Humfrey, Peter, Clifford, Timothy, Weston-Lewis, Aiden, and Bury, Michael. The Age of Titian – Venetian Renaissance Art from Scottish Collections, National Galleries of Scotland, 2004Mallet, J.V.G. ‘Nicola da Urbino and Francesco Xanto Avelli’, Faenza, 93, no 4-6 2007, p199-250Rev Macintosh Mackay, LL.D. Memoir of James Ewing Esq. of Strathleven, formerly Lord Provost of Glasgow and M.P for that city, LL.D of the University of Glasgow with a series of letters written while on a tour in Italy, Switzerland, &C., &C. Glasgow, 1866.Wilson, Timothy (with the collaboration of Patricia Collins and an essay by Hugo Blake). Ceramic Art of the Italian Renaissance, exh. cat., British Museum, 1987, p44Wilson, Timothy. Italian Maiolica and Europe, Oxford, 2017With thanks to Celia Curnow for the extensive research and footnote on this lot.
• 3 Sterling Silver Christmas
  3 Sterling Silver Christmas Ornamentsby Scultpture Workshop Designs including ''Forever Santa'' ''100 Years Statue of Liberty'' & ''Return of the Christmas Comet'' all 3 1/4'' plus a santa figurine by Magrino 2 1/4''.
• NATIVE AMERICAN EXCEPTIONAL CRUCITA
  NATIVE AMERICAN EXCEPTIONAL CRUCITA CALABAZA, (1921-1999) SAN ILDEFONSO BLUE CORN POTTERY JAR, CA 70S-80S. 5 1/4"H X 6"DIAM.Native American Exceptional Crucita Calabaza, (1921-1999) San Ildefonso Blue Corn pottery jar, Ca 70s-80s., Exceptional fine line polychrome decorated feather pot, signed under base, "Blue Corn San Ildefonso Pueblo" "Blue Corn (c. 1920 – May 3, 1999), also known as Crucita Calabaza, was a Native American potter from San Ildefonso Pueblo, New Mexico, in the United States. She became famous for reviving San Ildefonso poly chrome wares and had a very long and productive career. Her grandmother first introduced her to pottery making at the age of three. Maria Martinez's sister gave her the name "Blue Corn" during the naming ceremony, which is the Native American tradition of naming a child. Blue Corn attended school at the pueblo in her early years. She then went to Santa Fe Indian School, which was 24 miles (39 km) from home. While attending school in Santa Fe, her mother and father died, and she was sent to live with relatives in southern California. Here she worked as a maid for a short time in Beverly Hills. At the age of 20, she married Santiago "Sandy" Calabaza, a silversmith from Santo Domingo Pueblo. Together they settled at San Ildefonso, where she bore and raised 10 children. During World War II, Blue Corn worked as a house cleaner in Los Alamos for the physicist, J. Robert Oppenheimer. After her first son, Joseph, was born, she returned to pottery making. Santiago quit his job to help her carve, paint and design her pots, and by the late 1960's she had established herself as a leader in poly chrome styles. After her husband died in 1972, her son Joseph began helping her with her pots. During the 1960's and 70's, she conducted many workshops on pottery making in both the U.S. and Canada. Although Blue Corn also made redware and blackware, she is especially noted for her finely polished slips and exhaustive experimentation with clays and colors, producing cream poly chrome on jars and plates. She is particularly well known for her feather and cloud designs. Blue Corn is known for the re-introduction of poly chrome fine whiteware and has received critical acclaim from several publications including the Wall Street Journal. Her pottery can be found in the Smithsonian Institution and other leading museums throughout America and Europe as well as in private collections. She won more than 60 awards including the 8th Annual New Mexico Governors Award in 1981. This is New Mexico's greatest recognition of artistic achievement. She died May 3, 1999 leaving ten children, 18 grandchildren and 12 great-grandchildren. Publications: • Allan Hayes and John Blom, 1996, Southwestern Pottery: Anasazi to Zuni • Peterson, Susan, 1997, Pottery by American Indian Women: The Legacy of Generations • Schaaf, Gregory, 2000, Pueblo Indian Pottery: 750 Artist Biographies" (Source: Wikipedia) Dimensions: 5 1/4"H x 6"Diam.
• CRUCITA CALABAZA NATIVE AMERICAN
  CRUCITA CALABAZA NATIVE AMERICAN SAN ILDEFONSO PUEBLO, BLUE CORN, POLYCHROME POTTERY BOWL 4 3/4"H X 10"DIAM.Crucita Calabaza Native American San Ildefonso Pueblo, Blue Corn, polychrome pottery bowl, signed under base. Native American Blue Corn "Crucita Calabaza" (1920-1999). San Ildefonso polychrome pottery bowl signed underfoot Height 4 3/4", diameter 10 1/2 ". Condition Report: Overall excellent condition. This is an extraordinary Museum quality piece. Blue Corn (c. 1920 - May 3, 1999), also known as Crucita Calabaza, was a Native American potter from San Ildefonso Pueblo, New Mexico, in the United States. She became famous for reviving San Ildefonso polychrome wares and had a very long and productive career. Her grandmother first introduced her to pottery making at the age of three. Maria Martinez's sister gave her the name Blue Corn during the naming ceremony, which is the Native American tradition of naming a child. Blue Corn attended school at the pueblo in her early years. She then went to Santa Fe Indian School, which was 24 miles (39 km) from home. While attending school in Santa Fe, her mother and father died, and she was sent to live with relatives in southern California. Here she worked as a maid for a short time in Beverly Hills. At the age of 20, she married Santiago Sandy Calabaza, a silversmith from Santo Domingo Pueblo. Together they settled at San Ildefonso, where she bore and raised 10 children. During World War II, Blue Corn worked as a house cleaner in Los Alamos for the physicist, J. Robert Oppenheimer. After her first son, Joseph, was born, she returned to pottery making. Santiago quit his job to help her carve, paint and design her pots, and by the late 1960's she had established herself as a leader in poly chrome styles. After her husband died in 1972, her son Joseph began helping her with her pots. During the 1960's and 70's, she conducted many workshops on pottery making in both the U.S. and Canada. Although Blue Corn also made redware and blackware, she is especially noted for her finely polished slips and exhaustive experimentation's with clay's and colors, producing cream poly chrome on jars and plates. She is particularly well known for her feather and cloud designs. Blue Corn is known for the re-introduction of poly chrome fine whiteware and has received critical acclaim from several publications including the Wall Street Journal. Her pottery can be found in the Smithsonian Institution and other leading museums throughout America and Europe as well as in private collections. She won more than 60 awards including the 8th Annual New Mexico Governors Award in 1981. This is New Mexico's greatest recognition of artistic achievement. She died May 3, 1999 leaving ten children, 18 grandchildren and 12 great-grandchildren. References: Allan Hayes and John Blom, 1996, Southwestern Pottery: Anasazi to Zuni Peterson, Susan, 1997, Pottery by American Indian Women: The Legacy of Generations Schaaf, Gregory, 2000, Pueblo Indian Pottery: 750 Artist Biographies External links Blue Corn at Holmes Museum of Anthropology (Source: Wikipedia) Dimensions: 4 3/4"H x 10"Diam.
• David Jansheski (American b.
  David Jansheski (American b. 1954) "Riddle of the Fish II". Woodcut with chine colle signed and dated 1991 in the lower right margin titled in the lower left margin Print Club of Cleveland blind stamp in the lower left corner and blind stamp of the Graphics Workshop Santa Fe apprx. 31" x 23-1/2" image size apprx. 40-3/4" x 30" paper size.