Ed Clark 1926 - 2019 Untitled signed, dated 1965, dedicated to Alice and variously inscribed (on the reverse) oil on canvas 61.2 by 45.7 cm. 24 by 18 in. framed: 64.3 by 48.9 cm. 25¼ by 19¼ in. Executed in 1965.
Irish Interest Booklets and Pamphlets such as Irish Georgian Society July-December 1980; The Irish and The armada by Alice Stopford Green, 1951 plus 25 others (27)
ROTARY INTERNATIONAL ALICE & RICHARD L EVANS TULSA 1966 TRINKET DISH. MEASURES 3 7/8" DIAMETER. BLUE ON BOTTOM. HALLMARKED ON BOTTOM. SYRUP PITCHER 838. MEASURES 5 3/8" TALL X 3 1/2" DIAMETER AT SHOULDER. HALLMARKED ON BOTTOM. A PAIR OF JUICE TUMBLERS. ADA CLAY. HALLMARKED ON BOTTOM. MEASURE 2 3/4" TALL X 2 3/8" DIAMETER. WAGON WHEEL PATTERN. WAGON WHEEL TOOTHPICK HOLDER 510. MEASURES 2 1/2" WIDE X 2 1/2" TALL X 1 1/8" DEEP.
Alice B. Toklas (American, 1877-1967), handmade, Bolero style with butterfly print and gold trim, Sotheby's lot sticker to button, Smithsonian and Christie's provenance tags verso, approx. 28"h x 23.5"w (waistcoat), 37.5"h x 34"w (frame)
ALICE CAVINESS - Vintage Sterling Silver Butterfly Brooch Alice Caviness, New York, circa 1950. Sterling silver, gold-plated. Rhinestones. Dimensions: 6.5 x 3.7 cm. With safety catch. Signed: ALICE CAVINESS Sterling Germany (manufactured in Germany). The wings are movable. Good condition, slight traces of wear. Alice Caviness founded her jewelry company in the 1940s in New York City. Her jewelry pieces became known for their bold designs, high-quality materials, and artistic expression, often featuring rhinestones, enamel, and filigree metalwork.
Title is Insight. 24" by 30" unframed. 29 1/2" by 35 1/2" framed. Acrylic on Canvas. From the Private Collection of James H and Pauline Harken. Inventory #785 Virginia Alice Stroud (Born 1951) is active/lives in Oklahoma, California. Virginia Stroud is known for Indian pictographic, ledger drawing. Of Cherokee and Creek descent, Virginia Alice Stroud was born March 13, 1951 in Madera, California. She was educated in public schools in California and Oklahoma, and graduated from Muskogee Central High School in 1969. Virginia attended Bacone Junior College from 1969-1970 and the University of Oklahoma, 1971-73, summer 1975, and 1976-77, majoring in elementary education and art. Over the past thirty years, Virginia Alice Stroud has established herself as a contemporary Native American artist and has compiled an impressive record in the process. The above quote typifies her concept of aesthetic values and the objectives she attempts to achieve in her paintings. Her objectives and methodology are further exemplified when she states, "As an artist I touch the human chord that erases the multicultural boundaries and ask the viewer to look for the familiar and not the differences of humanity." Continuing in the earliest traditional painting style, she does not paint the facial features, and individual identity passes into the background. Characters are recognized by their clothing and their identities are established by their roles. This is especially true of the Native American women whose " roles as caretaker, nurturer, gatherer and spiritual instructor remained the same, handed down from one generation of daughters to another." Identity is established by what is familiar to a culture, and the viewer is asked to both recognize the differences through identity and to overlook those differences, thereby enriching the spiritual world by minimizing the distance between themselves and the art. "I paint for my people. Art is a way for our culture to survive...perhaps the only way. More than anything, I want to become an orator, to share with others the oldest of Indian traditions. I want people to look back at my work just like today we're looking back at the ledger drawings and seeing how it was then. I'm working one hundred years in front of those people and saying 'this is how we still do it...we still have our traditions.'" Ledger art is traditionally a male American Indian pictographic art form, and historically has been characterized as such by researchers. Chronologically its stylistic development belongs to the Proto-Modern era of the Native American Fine Arts Movement and was a major influence, through trade routes and the patronage of white art collectors, on Modern Indian Art as its elements diffused to the schools of New Mexico, Oklahoma, and the Northwest Coast. Its more explicit expression, however, yielded to the styles that developed in these schools and culminated in the early 1960's during a period of the Movement referred to as the First Generation Modernists. Only recently have the researchers of Ledger art recognized Virginia Stroud as the Native American Woman artist who, as a Second Generation Modernist and a member of the so-called "New Indian Art Movement", revitalized a traditionally male form of art expression with her pictographic images in the late 1960's to the early 1980's. Influence on Stroud's stylistic achievements can be attributed to her Kiowa upbringing centered in Oklahoma, which is the major geographic center of the Southern Plains school, and her attendance at Bacone under the direction and influence of Dr. Richard West. Stroud has experienced a transitional phase in her stylistic development which progressed from the traditional earthy pictorial images of the early eighties to a more brilliant color schema that focuses on the roles of women and children in Native American culture, centering on the preservation of a lifestyle across generations. This transitional phase strongly coincides with the chronological division of the Second Generation Modernists stage of the Native American Fine Arts Movement, and the Post-modern or Contemporary stage. However one wishes to define this Post-modern stage, Stroud's contemporary work displays a bold sense of color, combining the elements of the prior generations of Modernists, retaining its traditional style. This later stage of Stroud's development has also produced works that are associated with Cherokee traditions and may be attributed to her Cherokee ancestry, but probably more importantly can be explained by a regional interest in her creativity which, with her residency in the Southwest, has focused on themes of that part of the country. Virginia attributes a major influence in her art to the early encouragement of the late Dr. Richard West of Oklahoma, who schooled her in the history of ledger art and termed her knack for color combinations as innate, resembling that of Picasso. Her initial goals when entering college were to major in art education and teach art in either primary or secondary schools. The change in her career decision was due to the continual appraisal of her work by Dr. West who convinced her that she could make a living as a painter. Stroud also cites Native American artist Joann Hill as an inspiration, not artistically, but as an ideal of the Native American woman's place in the art world, and art restorator Amad Moghbel, as a major influence by introducing her to gouache techniques with rag paper and hand ground pigments. While Virginia is of Creek and Cherokee descent, she categorizes her art as more relevant to the plains tribes and her Kiowa upbringing. In May 1970, she became the youngest Native American artist to receive first place honors in the Woodlands division of the 25th Annual American Indian Artists Exhibition at Philbrook Art Center in Tulsa, Oklahoma. In 1972, she won the Heritage Award at the Five Civilized Tribes Museum in Muskogee, Oklahoma. In 1975, Virginia again won a first place award at the 30th American Indian National Exhibition at the Philbrook Art Center, and spent the next year as an artist in residence for the city of Norman, Oklahoma. In 1978 her pictographic work "Enemy Treasures" won the award for graphics at the Heard Museum, and in 1982 was selected Artist of the Year by the Indian Arts and Crafts Association. Her most recent honors include the Woody Crumbo memorial award, Best of Show, Best Painting, and Best in the Traditional category at the 1992 Indian Market in Sante Fe. A large collection of Virginia's artwork was recently (2003) included in the Smithsonian's archives of living artists and the Fred Jones, Jr. Museum of Art at the University of Oklahoma. Her work has appeared on the covers of "Oklahoma Today", "Southwest Art", and in the first issue of "Four Winds" magazine. Her work was also illustrated in "Indianische Kunst im 20 Jahrhundert", a German publication and in "Beyond Tradition, Contemporary Indian Art and Its Evolution" by Jerry and Lois Jacka, 1988. Virginia has been honored in the past as Miss Cherokee Tribal Princess, 1969-70, Miss National Congress of American Indians, 1970-71, Miss Indian America, 1971, served on the Board of Directors of the Indian Arts and Crafts Association, and spent 1999 as a candidate for Principal Chief of the Cherokee Nation. In 1988 she began creating her painted furniture, and she has, in the past few years, authored, co-authored, and illustrated four books for children as well as extending her prolific talents to doll making. Her book, Doesn't Fall Off His Horse, was recognized as NCSS-CBC Notable Children's Trade Book in the Field of Social Studies, IRA-CBC Children's Choice, and received the IRA Distinguished Book Award. Stroud's current projects include designing baby blankets and a baby journal for the American Indian College Fund.
NAPALJARRI, Maisie Campbell (Aboriginal b.1952) 'Tjintjintjin,' 2016. Acrylic on Linen 84.5x76.5cm PROVENANCE: Yanda Aboriginal Art, Alice Springs NT cat #MCN201605 (certificate & photos included); Piermarg Gallery, Sydney (label verso to stretcher); Collection Rev. Dr Arthur Bridge AM OAM.
MPETYANE (MBITJANA), Dora (Aboriginal b.1965) 'My Mother's Story,' 2023. Acrylic on Canvas 59x59cm PROVENANCE: Mbantua Gallery, Alice Springs NT cat #MB60662 (certificate & photo included); Collection Rev. Dr Arthur Bridge AM OAM.
Trockel, Rosemarie Schwerte, 1952 Blattgröße: 101,5 x 80 cm; 90,5 x 70 cm, o. R. Alice in Wonderland, 1995. Silkscreen print on wove paper. Signed, dated and numbered 39/60. Private collection, Baden-Württemberg. Trockel, Rosemarie Schwerte, 1952 Blattgröße: 101,5 x 80 cm; 90,5 x 70 cm, o. R. Alice im Wunderland, 1995. Farbserigraphie auf Bütten. In Bleistift unten rechts signiert und datiert sowie unten links nummeriert 39/60. Privatsammlung, Baden-Württemberg.
Alice Baber Untitled 1967 watercolor on paper 7 h x 10.25 w in (18 x 26 cm) Signed and dated to lower right 'Baber 67'. This work will ship from Lambertville, New Jersey.
15th-16th century A.D.. With D-section hoop and disc bezel, incised nasta'liq inscription. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 540; Content, D.J. (ed.), Islamic Rings & Gems. The Zucker Collection, London, 1967, item 94, for type. 8.13 grams, 20.48 mm overall, 17.47 mm internal diameter (approximate size British M, USA 6, Europe 12.46, Japan 12) (3/4 in.). From an old French collection believed to have been formed in the 1960s. Acquired privately as part of a collection in the early 1990s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12298-214825. [No Reserve] (For this specific lot, 5% import VAT is applicable on the hammer price.) [A video of this lot is available to view on Timeline Auctions Website]
Original etching on paper of an old stone bridge crossing a river in a European town. Written on verso: Alice Rummell 1950. Dr Rummell's wife did this and I gave it to Dr. Cavanaugh? Sticker for Strouss Hishberg Co. Signature on lower left: Alice Rummell. Housed in a black wooden frame with an off-white mat. Sight size: 3.75"L x 5"H. Frame size: 9.75"L x 11"H x 0.50"W. Artist: Alice Rummell Issued: 1950
Tilley, Vesta (1864-1952) Two Period Images of the Performer Dressed as a Man. Born Matilda Alice Powles in Worcester, England, young Vesta Tilley's father was a musician, emcee, and stage manager. She was best known for her music hall performances depicting men, mostly dandies and fops. Making her stage debut at the age of three, Tilley began singing professionally in men's roles at six. As an adult, Tilley graduated to exclusively male roles. "I felt that I could express myself better if I were dressed as a boy." By the 1890s she was known as the London Idol and was the highest paid female performer in the entertainment business. Although Tilley lived the life of a cisgender heterosexual woman, the public spectacle of her performances undoubtedly created a space or at least an inflection point signaling difference and tacit although weak acceptance of queer identity in the Victorian era.
ALICE IN WONDERLAND HAND PAINTED CHARACTER CEL, "Tea Party." Recreated from the original artwork for Walt Disney's, "Alice in Wonderland, Down the Rabbit Hole" (1951). Published in 1995, no. 36/500, 11.5" x 15.5"(image), 20.75" x 24.75"(frame). .
Attributed to Alice Louise Walton, American, born 1949, oil on board countryside landscape painting depicting a view to a countryside house through the trees. Signed lower right. Circa the late 20th century. Framed. Landscape Paintings And American Art Collectibles.
Alice Baber 1928 - 1982 Moving Round signed (lower right); signed twice, titled and dated 1967 (on the stretcher) oil on canvas 10 by 10 in. 25.4 by 25.4 cm. Executed in 1967. This work will be included in The Alice Baber Project at www.alicebaber.com.
Henry, Duke of Gloucester & Alice, Duchess of Gloucester Henry, Duke of Gloucester & Alice, Duchess of Gloucester Christmas cards for 1948 and 1951, signed below printed greetings by Henry and Alice, the Duke and Duchess of Gloucester, mounted black and white photograph of the family at Barnwell Manor, some foxing along the central fold in the 1948 card, otherwise both in very good condition, 12 x 15cm and 11 x 14.5cm (2)
Variation One. Black hat, dark red bow tie. A character from Lewis Carroll's " Alice's Adventures in Wonderland," the Mad Hatter wears a watch that tells time in months, rather than in hours.Series: Alice in Wonderland. Royal Doulton backstamp. Artist: Max Henk Issued: 1965 - 1983 Dimensions: 7.25"H Manufacturer: Royal Doulton Country of Origin: England
Jean Baier (1932-1999) Composition, émail polymérisé sur métal, datée 1966 et signée au dos, 60x60 cm. Provenance: Galerie Alice Pauli à Lausanne; collection Marisa Perret-Rezzonico
A PAIR OF GEORGE CHALOUPKA OIL ON BOARD (6 September 1932 – 18 October 2011) DARWIN BASED ARTIST (1967) SOLD OUT OF THE ARUNTA GALLERIES ALICE SPRINGS "TOTEM POLES" 45CM X 90CM
Malcolm Maloney Jagamarra 1955- Bushfire Dreaming (Warlu) Synthetic polymer paint on canvas 1990, Aboriginal Gallery of Dreamings, Melbourne, acquired from the above in 1991, Richard Kelton Collection, Santa Monica; Exhibited: ‘Awake to the Dreamtime: Australian Aboriginal Art', San Diego Museum of Man, San Diego, CA, 19 February - 24 May 1993; 'The Evolving Dreamtime: Contemporary Art by Indigenous Australians-Part I', Pacific Asia Museum, Pasadena, CA, 3 August 1994 – 22 January 1995
Petra Nampitjinpa b.1966 Women Dancing at Yamunturrngu (Mt. Liebig acrylic on canvas 1993, Papunya Tula Artists Pty. Ltd., Alice Springs, David Cossey, Gallerie Australis, Adelaide, acquired from the above in 1993, Collection of Richard Kelton and Kerry Smallwood Kelton, Santa Monica
Alice Mumford Roberts Culin (American, 1875-1950), 1915, oil on canvas portrait of Henry R. Edmunds, president of the Board of Trustees of the Free Library of Philadelphia in 1915, copy of the original, located in the Free Library of Philadelphia, signed u.r., 50" x 40" canvas.
Chuck Stewart (born 1927) John & Alice Coltrane, Englewood Cliffs, New Jersey, 1966 Gelatin silver print, printed later; signed, titled, dated and numbered '42/100' in pencil on the verso. 17 1/2 x 14 3/4 in. (44.5 x 37.6 cm.) sheet 20 x 16 in. (50.8 x 40.6 cm.)
Variation One, black hat; dark red bow tie. A character from Lewis Carroll's "Alice's Adventures in Wonderland," the Mad Hatter wears a watch that tells time in months, rather than in hours. Series: Alice in Wonderland. Royal Doulton backstamp. Artist: Max Henk Issued: 1965 - 1983 Dimensions: 2.5"H Manufacturer: Royal Doulton Country of Origin: England
DEUX CHEVAUX AU PRINTEMPS, 2006 Öl auf Leinwand. 33 x 46 cm. Rechts unten signiert, verso auf Keilrahmen monogrammiert, datiert „A.B. 2006“ und betitelt. Der Künstler war der Sohn des symbolistischen Malers Jacques Brasilier und dessen Ehefrau Alice Chaumont. Er studierte ab 1949 an der École des Beaux-Arts in Paris, wurde im Alter von 23 Jahren mit dem prestigeträchtigen Premier Prix de Rome für Malerei ausgezeichnet. Die Faszination seiner Werke liegt im Spiel der leuchtenden und frischen Farben sowie dem Einsatz nur weniger Konturen. Die Themen innerhalb seines Werkes sind oft Pferde, Kavalkaden und Blumen. 2005 zeigte das Museum der Eremitage in Sankt Petersburg eine große Retrospektive seines Werks. Anmerkung: Brasilier's Gemälde vermischen Abstraktion und Expressionismus; seine eleganten Pferde voller Stärke und Schönheit finden sich oft in kühlen Wäldern oder vor Sonnenuntergängen wieder. (1300061) (18) André Brasilier, born 1929 Saumur DEUX CHEVAUX AU PRINTEMPS, 2006Oil on canvas. 33 x 46 cm. Signed lower right, monogrammed on the back of the stretcher, dated “A.B. 2006” and titled.
Alice Neel Untitled 1966 lithograph sight: 28.5 h × 21 w in (72 × 53 cm) Signed, dated and inscribed to lower right 'Moore College of Art 1971 Alice Neel'. This work will ship from Rago in Lambertville, New Jersey.
Nellie Wayne Nangala Warlpiri, b.c.1952 Water Dreaming West of Yuendumu Acrylic on Belgian linen Painted at Alice Springs, Northern Territory, in 2007.
ALICE IN WONDERLAND IS LEATHER BOUND, GIFTED IN INK IN 1952, GILT EDGE PAGES, HAND SEWN, BACK SPINE IS MISSING & RE-TAPED, WORDSWORTH POEMS HAS A RED COVER W/ GOLD LETTERING, 1938 COPYRIGHT, SOME INK WRITING INSIDE, EMERSON'S ESSAYS W/ 1800'S STYLE COVER, FADED COLOR, HAND SEWN W/ GILT EDGE PAGES, SPINE HAS WEAR AND IS LOOSE, HIAWATHA IN A GREEN HARD COVER W/ RED CATTAILS DESIGN ON THE COVER, BY LONGFELLOW, PAGES ARE DISCOLORED W/ AGE, NO COPYRIGHT DATE, HAS A PENCILED NAME INSIDE THE FRONT PAGE, ALL IN GOOD OR AS DESCRIBED CONDITION
Klimt, Gustav Koschatzky (Hg.), Walter Fünfundzwanzig Zeichnungen. Ausgewählt und bearbeitet von Alice Strobl. Mit 25 großformatigen Faksimile-Zeichnungen. Graz und Wien, Akademische Druck- und Verlagsanstalt, 1964. 14 S., 1 Bl., 25 Tafeln unter Passepartout. OLwd.-Mappe mit montiertem DTitel in OHLwd.-Schuber (Rücken und Schuber leicht gebräunt). Veröffentlichungen der Albertina 1. - Die Drucke dieser monumentalen Mappe entstanden nach Zeichnungen des Künstlers aus den Jahren 1888-1918. - Mit Exlibris. Das Begleitheft mit Einrissen im Rücken. Die Tafeln sehr gut erhalten. With 25 large-format facsimile drawings. Loose plates under passepartout in original cloth portfolio with in original slipcase (spine and slipcase slightly browned). - The prints of this monumental portfolio were made after drawings by the artist from the years 1888-1918. - With bookplate. The accompanying booklet with tears at the spine. The plates very well preserved.
Gustaf V medal "For Zeal and Honesty in Service of Kingdom". Inscribed translation "For Tora Alice Kristina Rooth". 1"-diameter. Edge marked "MJV Guld 1950". Acid tested as 22 karat. Total weight: 13.9 grams.
Mappe Gustav Klimt leinenbezogene Flügelmappe mit 25 Zeichnungsreproduktionen im Offsetverfahren, je unter Passepartout montiert, veröffentlicht von der Albertina in Wien, herausgegeben von Walter Koschatzky, bearbeitet von Alice Strobl, gedruckt von der Akademischen Druck und Verlagsanstalt Graz-Wien, 1964, Textheft mit 14 Seiten, Textheft minimal fleckig, Mappenmaße ca. 59,5 x 43,5 cm. Künstlerinfo: bedeut. österr. Maler, Zeichner und Graphiker und einer der bekanntesten Vertreter des Wiener Jugendstils und der Wiener Secession (1862 Baumgarten bei Wien bis 1918 Wien), Lehre zum Goldgraveur beim Vater Ernst Klimt d. Ä., mit Stipendium 1876–83 Kunststudium an der Wiener Kunstgewerbeschule bei Ferdinand Laufberger, Victor Berger, Ludwig Minnigerode, Karl Hrachowina und Michael Rieser, in den 1880er Jahren Ateliergemeinschaft "Künstler-Compagnie" mit Ernst Klimt und Franz Matsch, 1888–89 Studienreisen nach Krakau, Triest, Venedig und München, 1890 Ehrung mit dem Kaiserpreis, 1891–97 Mitglied der Genossenschaft bildender Künstler Wiens (Künstlerhaus), 1897 Mitgründer der Wiener Secession und 1897–99 deren erster Präsident, 1898–1903 Mitarbeit an der Secessions-Zeitschrift "Ver Sacrum", 1902 Schaffung des Beethovenfrieses, 1905 Austritt aus der Secession, 1905 vertreten auf der Ausstellung des Deutschen Künstlerbundes in Berlin, 1905 Villa-Romana-Preis, 1906 Reise nach Belgien und England und zum Ehrenmitglied der Königlich-Bayerischen Akademie der Bildenden Künste München ernannt, 1908 Florenzaufenthalt, 1909 Reise nach Paris, Madrid und Toledo, 1914 nach Brüssel, ab 1912 Präsident des Bundes Österreichischer Künstler, 1917 Ehrenmitglied der Akademie der Bildenden Künste Wien, beschickte Ausstellungen in Prag, Dresden, München, die Biennale in Venedig, Rom, Budapest, Mannheim und Berlin, tätig in Wien, 1900–16 regelmäßige Sommeraufenthalte am Attersee, Quelle: Thieme-Becker und Internet.
Vintage Alice in Wonderland Movie Poster Lithograph, inscriptions read Walt Disneys Alice in Wonderland, copyright to lower left corner reads 1951, edition number to lower right reads 51/408, shows Alice when shes of bigger size stuck inside pink cottage, with characters surrounding it, measures 14 x 11 inches, not framed, in protective sleeve against foam backing. Artwork, wall art, home decor, vintage film, vintage cartoons, vintage Walt Disney, Disneys Alice in wonderland, Alice in wonderland, Walt Disney productions, Disney fans, Disney film, vintage Disney, movie poster, film poster, collectibles, collectible Disney decor, Disney decor, Disney art, 5 ST
Walt DISNEY - «Les Albums roses» (6) et«Mickey présente» (6). Lot de 12 volumes de ces 2 collections. Hachette, dates diverses. 20 x 16,5 ou 23,5 x 18,5 cm cartonnage d'édition. «Les ALBUMS ROSES»: - Alice et le chapelier fou. 1952. - Le Pique-nique de Mickey. 1952. - Donald en chemin de fer. 1952. - Les Jouets de Noël. 1952. - Le Retour de Blanche-Neige. 1954. - Tic et Tac. 1955. «MICKEY PRÉSENTE»: - L'Arche de Noé. (1934). Avec la jaquette (petits manques et déchirures à la jaq.). - La cigale et la fourmi. (1935). Avec la jaquette (petits manques et déchirures à la jaq.). - Donald et Hortense. (1938). - Blanche-Neige et les sept nains.(1940). Avec la jaquette. - Pinocchio d'après C. Collodi. 1946. Dos légèrement frotté. - Le grand méchant loup et le petit chaperon rouge. 1947. ENSEMBLE 12 VOLUMES, BONNE CONDITION GÉNÉRALE (QUELQUES DOS FROTTÉS).
Royal Doulton Character Jug, Walrus and Carpenter D6600 (black hat with yellow band, dark grey hair; pink neckerchief with yellow dots; Walrus wears green coat, yellow waistcoat and cream pants). Designed by Max Henk. Series: Alice in Wonderland, issued 1965 - 1980. Size: 7.25"H (Large)On a beach in Wonderland, the walrus and carpenter invited a number of oysters for evening conversation, which the walrus promptly ate. Manufacturer: Royal Doulton Country of Origin: England
Royal Doulton Character Jug, Ugly Duchess D6599 (green, purple, and pink coloration). Designed by Max Henk. Series: Alice in Wonderland, issued 1965 - 1973. Size: 6.75"H (Large)The Ugly Duchess lives in Wonderland and plays croquet with the Queen. Alice found the game a curious one, with live hedgehogs for balls, flamingoes for mallets and playing-card soldiers, who doubled over to serve as the arches. Manufacturer: Royal Doulton Country of Origin: England
