Bull Barrel Reloading Dies .224 Clark [178151]

0 ga, 224 loco, 2224T die cast tender, 3651 log dump, 3652 operating gondola w/barrels, 3659 dump car, 2660 crane, working, 2657 caboose, C6-7.

BULL RING (#284), 1984, impasto acrylic painting on canvas, signed and dated and titled on verso, 72 ¼ x 95 ½ x 2”. From the Stuart Lampert & Stephen Tomar Collection, Interior Designe

BEFORE BULL RIDING, oil painting on Masonite, signed lower right, 24 x 12”, frame 29 x 17”. Provenance: Miner’s Gallery of Americana, Carmel, CA.

EUROPA AND THE BULL, glazed and painted porcelain sculpture, red and blue hallmarks underneath, 25 x 22 x 10 ½”, tiny factory speck on knee, in good condition.

5 Antique Dresden Cups & Saucers With Fine Hand Painted Scenes, Saucers Marked Dresden 170 447h, Cups Marked Dresden 310 J857. One Cup Marked Fruhlings Einrug, One Marked Die Tierfreunde. Cups Approxi

VOYAGE OF THE MANDARINS, 1976, painted chemical dyes on silk stitched onto painted canvas, signed on verso, overall 43 x 45", framed.

KILIMANJARO BULLS (K.III.16), 1992, color screenprint, signed in pencil, numbered 279/375, image 27 x 38”, full margins, framed, in apparently good condition.

BOTTOM' S UP, 1990, three-dimensional die-cut color lithograph, signed in pencil, numbered 131/150, image 7 ½ x 6", full margins, framed.

I'LL SEE YA IN COURT, three-dimensional die-cut color screenprint with glitter highlights, signed in pencil, numbered 295/300, image 30 ¼ x 23 ½", full margins, framed.

RUNNING OF THE BULLS AT PAMPLONA, 1966, gouache and watercolor on paper, signed upper center, sight 38 ½ x 26”, M. Knoedler & Co. NY frame 43 x 30 ½” with glass. Provenance:

GREETINGS FROM NEW YORK, three-dimensional die-cut color screenprint with glitter highlights, signed in pencil, numbered 57/450, image 35 x 28 ¼â€, full margins, framed.

KEEP ON RUNNING, 1997, three-dimensional die-cut color lithograph, signed in pencil, numbered LVI/C (56/100), image 6 ½ x 11", full margins, framed.

3 3/4" Wisconsin Winged Bannerstone. Clark Co, MO. Vivid and well polished Porphyry. Small area on tip of one wing restored. Very well made with square barrel and robust wings. Ex-Mike Owens, Thomas B

Claudia Clark Myers. Millerifori. Original design pieced floral quilt. Cotton solids and hand-dyes. Machine pieced, appliqued and long arm quilted. Excellent condition. No repair or restoration. 63" x

Marlene Clark(20th Century)Hubbell Revival Textile, ca. 1980shandwoven yarns, dyes67 x 44 in. (170.18 x 111.76 cm.) Private Collection, New Mexico

Marlene Clark(Diné [Navajo], 20th Century)Hubbell Revival Rug, ca. 1980handspun wool, aniline dyes67 x 44 in. (170.18 x 111.76 cm.) Private Collection, New Mexico

3 3/4" Wisconsin Winged Bannerstone. Clark Co, MO. Vivid and well polished Porphyry. Small area on tip of one wing restored. Very well made with square barrel and robust wings. Ex-Thomas Browner, Ray

Minneapolis-Moline Power-Machinery Service-Sales Double Sided Porcelain Neon Sign TAC 9. Two SSP (single sided porcelain) die cut signs mounted back-to-back on the original metal can with bull nose an

The fierce bull-headed god Yama standing on a bull mount. Yama, being the first individual to die, became the Lord of Death. Height: 3-1/2 in.

Vintage Serapi Rug, Turkey, 7'4'' x 10'4'' (224 x 315 cm). Weight: 66 lbs. Material: wool pile, cotton warp, cotton weft. Woven Legends natural dye production, eastern Turkey, late 20th c. Note: There

Gertrude Abercrombie, German, American, 1909 to 1977, oil painting on masonite, Dice, Egg, and Leaves, 1968. Signed and dated lower right. Framed. Provenance: Johnson and Clark Interior Designers. Com

Willy Guhl Set of two 'Hourglass' planters, 1960s Fibrated concrete. Manufactured by Eternit, Switzerland. Interior of larger example with impressed manufacturer's mark and smaller impressed with numb

EN OBSERVATION, 1992-1993, gouache, watercolor and ink and collage on paper artist mounted to canvas, signed lower left, dated lower right, signed and dated and titled on verso, 53 ½ x 29 &frac

CHEESE MOLD STANDARD WITH OLIVE (W.31), 1969, color screenprint, signed and numbered 83/150 in pencil, published by Ed Ruscha, printed by Jean Milant and Daniel Socha at Ruscha’s studio, Hollywo