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This is a vintage Herend porcelain vase in the Chinese Bouquet Green, also called the Apponyi, pattern. Made around 1960, it stands 7.5 inches tall with a 3.5 inch diameter, a soft, flared mouth, and a footed base. The bright white body shows a hand‑painted green floral spray with tiny gold accents, and the rim and foot are edged in real gold. For a piece that’s about 66 years old, it’s in near‑mint condition—no chips or crazing, and the gilding still looks crisp. It’s a great size for a small bouquet or to sit on a shelf where the graceful shape and glossy glaze can catch the light. Earlier Apponyi vases like this aren’t common, especially this clean.

Herend is a Hungarian maker founded in 1826, famous for high‑end, hand‑painted hard‑paste porcelain supplied to European royalty. The Chinese Bouquet/Apponyi pattern was developed in the 1930s as a simplified take on Herend’s older Fleurs des Indes motif, reportedly at the request of Count Albert Apponyi. Green is the classic color, joined by rust, blue, lilac, and others. Every piece is brush‑painted and then gilded—typically with 24k gold—and marked on the base with the Herend shield and the painter’s number. Mid‑century examples like this often show slightly softer greens and heavier gold, and because they’re handmade, each one is a little different, which is why collectors chase them.

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This Vintage Aztec Warrior sculptural obsidian book stop is a bold, near‑mint piece carved from glossy black volcanic glass. The warrior’s profile and feathered headdress are sharply cut, then set on a solid base with the heft a bookend needs. It measures 7.5 inches tall, 2.5 inches wide, and 6 inches long, so it slips neatly on a shelf while still making a statement. Made circa 1960, it’s about 65 years old—solidly vintage—and the mirror polish shows off the stone’s depth. Clean examples at this size don’t turn up often, which makes this one feel special.

There isn’t one specific brand behind these; most were crafted by mid‑century workshops near Teotihuacan and Pachuca, home to Mexico’s best obsidian. Artisans sawed rough blocks, hand‑chiseled the details, and polished them to a deep shine, selling single book stops and pairs to travelers and museum shops. Obsidian is natural volcanic glass, around 5 to 5.5 on the Mohs scale, dense enough to anchor books and prized for its jet‑black glow. Production peaked from the 1940s through the 1970s, and many pieces got chipped or dulled, so near‑mint survivors are increasingly scarce. Care is easy: dust gently, avoid chemicals, and please don’t drop it.

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This is a Herend mini porcelain vase in the Queen Victoria pattern, hand painted with a bright butterfly and finished with a scalloped rim trimmed in gold. Made around 1970, it’s about 56 years old, putting it squarely in vintage territory. The vase stands 3.5 inches tall (8.75 cm) and measures 2.5 inches wide (6.25 cm) by 1.5 inches long (3.75 cm), a perfect size for a single bloom or to sit pretty on a shelf. Condition is Near Mint, with crisp colors and clean gilding, a lovely find for something this age. The soft green shading on the foot and rim adds a gentle, old-world glow.

Herend, founded in 1826 in Hungary, is famed for fine, hand-painted hard-paste porcelain. Queen Victoria, known by the factory code VBO, debuted at London’s Great Exhibition in 1851 and won royal favor, inspiring its name. The design mixes butterflies, florals, and gilded flourishes, each piece painted by an individual artist, so small variations are normal. Mini vases from the late 1960s–1970s aren’t common, especially in this fresh condition. Collectors look for sharp colors, intact gold, and clear backstamps. With careful dusting and gentle display, this petite 1970 example should keep delighting for decades.

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This is a handsome 1980 bronze statue of Poseidon (Neptune), shown standing with his trident and a leaping dolphin at his feet. It has a deep green, sea-toned patina that suits the subject, and it’s mounted on a chunky black marble base with bold white veining. The piece stands 10.5 inches tall (about 26.25 cm) and the base measures 3.5 by 3.5 inches (about 8.75 by 8.75 cm). Condition is near mint, with crisp details in the beard, hair, and figure, and the trident straight and present—often the first thing to go missing on older examples. At roughly 46 years old, it’s a true vintage decorative bronze that feels solid in hand and looks great on a desk, shelf, or mantel.

While the maker isn’t marked, this falls into the 1970s–1980s wave of classical revival bronzes sold by museum shops and quality art foundries, inspired by Grand Tour souvenirs. The combination of a cast bronze figure and a real marble plinth was a popular, upscale format then, and it’s getting harder to find clean, complete examples today. Collectors like these for their timeless subject, durable materials, and display-friendly size. Facts folks appreciate: it’s solid metal, not resin; the patina is intentional; and examples with original marble bases and intact tridents are relatively uncommon, making this a nice, ready-to-display piece from the early 1980s.

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This is a vintage Scheurich ceramic vase from around 1970, showing off a bold mid‑century abstract drip glaze. The plum‑purple ground is washed with flowing streaks of black, cream, orange, and silvery tones that pool and run in that classic “lava” look. It stands 9 inches tall and measures about 6 inches wide and 6 inches in diameter, so it’s a handy size for a shelf or sideboard. At roughly 56 years old, it’s a true vintage piece, and being in near mint condition makes it an eye‑catcher—glossy surface, clean rim, and only the lightest signs of age underneath. It’s an easy way to add a punch of color and texture to a room.

Scheurich was one of the powerhouses of West German pottery, turning out stylish vases and planters from the 1950s through the 1980s. Their hallmark is adventurous glazes—fat‑lava textures, dramatic drips, and rich, saturated colors—often on simple, modern shapes. Pieces were widely exported and are typically marked on the base with a form number and “W. Germany.” While Scheurich produced a lot, good examples with strong glazes and near mint condition are getting harder to find, especially from the late 1960s–early 1970s. The company name lives on today, known for quality planters, but these vintage art‑pottery vases are the ones collectors chase.

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This is a vintage iron candelabra in full Brutalist spirit, hammered and hand‑forged with a deep black finish. Made around 1970, it holds three taper candles on spiked saucers and shows off arched legs with an eye‑shaped center ring and a slim post accented by two welded loops. It measures 10.5 inches high, 10 inches wide, and 2 inches deep, so it fits a mantel or small table without crowding the space. At about 56 years old, it remains in near mint condition, with tight welds, crisp texture, and only the lightest hints of age to the finish. Heavy, stable, and striking.

Works attributed to Bieber Karoly track with small‑studio Brutalist metal from Central Europe in the late 1960s and 1970s. Hallmarks include visible hammer blows, torch‑cut edges, thick stock, and a dark lacquer that lets the tooling show. Production was limited and often done piece by piece, which keeps survivors uncommon today, especially in near mint shape. Collectors of mid‑century and industrial decor prize these sculptural forms because they feel both artful and practical. Typical features are upward curving arms, ring or loop accents, and plate‑and‑spike holders for standard tapers, with each example slightly different by hand and unique.

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This is a Brutalist Kopcsanyi Otto mid-century copper wall plaque with an Aztec-inspired design, made around 1970. A bright copper center contrasts with a darker, textured rim ringed with stylized glyphs, and a bold central figure holds the eye. It’s compact—8 inches high and 8 inches wide, about 0.5 inches thick, with an 8-inch diameter—so it’s easy to display on a stand or a small wall hook. Condition is Near Mint, with crisp edges, an even patina, and just a light, honest sheen from age. At roughly 56 years old, it’s a tidy, characterful vintage piece that reads as art and sculpture in one.

Kopcsanyi Otto work comes from the European studio-craft scene that embraced Brutalist texture and honest metals in the 1960s–70s. These plaques were made in small runs, hand-worked with repoussé and selective polishing, often pulling from ancient Mesoamerican themes for striking graphics. Sold through galleries and better gift shops, they were sometimes signed or labeled, most often in the 6–12 inch range—the 8-inch size here is a staple. With modest output and years of use, Near Mint 1970 examples have grown scarce. Collectors prize the weight, depth, and warm copper glow; decorators love how easily they play with wood, stone, and other natural finishes.

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This is a vintage Greek Key black vase with real gold decoration and classical mythological figures. Made in 1970, it stands 11 inches tall (27.5 cm) with a 6 inch diameter (15 cm) and a handsome tapered form that shows off the glossy jet‑black glaze. The gold banding and figure scenes are crisp, with scrolling borders and a meander at the rim. Condition is near mint, with only light shelf wear and no chips or cracks—impressive for a piece about 56 years old. It’s an elegant statement for a mantel, entry table, or bookshelf.

Vases like this come from mid‑century Greek decorative pottery lines made for export and quality gift shops, often marked “Handmade in Greece” and “Gold” beneath. The Greek key (meander) symbolizes eternity, while the matte gold muses or deities were commonly transfer‑printed and then fired with real gold, usually around 22–24k. Workshops in Athens and on the islands—makers such as Apollo, Keramikos, Olympia, and similar studios—produced them in the late 1960s and 1970s. Larger 11‑inch examples in near mint shape are getting scarcer, as gilding rubs with use. If you’re collecting, look for crisp gilding, deep black glaze, and clear backstamps, and clean gently with a soft cloth while avoiding abrasives.

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This piece is a Herend Victoria cache pot from around 1970, a small decorative planter made of fine hand‑painted porcelain. It shows off lively peonies and fluttering butterflies in pinks, greens, blues, and oranges, with a gently scalloped rim trimmed in real gold. The glaze is glossy and clean, with the crisp brushwork Herend is known for. At roughly 56 years old, it’s a true vintage example and is described as Near Mint—no chips or cracks, just light signs of careful display. Size is handy for a windowsill plant or desk flowers: height 3.5 inches (8.75 cm), width 5 inches (12.5 cm), length 4.5 inches (11.25 cm), diameter 4.5 inches (11.25 cm).

Herend Porcelain of Hungary has been crafting handmade, hand‑painted porcelain since 1826. The Victoria pattern—often called Queen Victoria—debuted at London’s Great Exhibition in 1851 and was purchased by Queen Victoria herself, which is how it got its name. The design blends European porcelain with Asian‑inspired butterflies and blossoms, finished with gold accents. Because each piece is painted by an artist, no two are exactly alike, and 1970s examples in this condition don’t surface every day. Collectors prize the bright palette, the quality of the porcelain body, and the long tradition behind the mark that reads Herend Hungary Handpainted.

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This is a petite Herend Rothschild jewellery tray from around 1960, made for holding rings, cufflinks, or small keepsakes. The white porcelain body has a scalloped, shell-like outline with a hand-painted scene of two songbirds on branches, flanked by a colorful butterfly and a tiny moth, and finished with a fine gilt rim. It measures 1 inch high, 2 inches wide, and 3.5 inches long, a perfect size for a nightstand or vanity. Condition is Near Mint, with bright enamel colors and only the faintest signs of age. At roughly 66 years old, it’s a tidy mid-century piece with real charm.

Herend, founded in 1826 in Hungary, is famous for hand-painted porcelain supplied to royal courts. The Rothschild Bird pattern dates to the 1850s and tells a family tale: a misplaced pearl necklace was said to be discovered in a tree by birds, so pieces show birds, insects, and sometimes a dangling necklace. Each item is painted freehand and edged with 24k gold, so no two are exactly alike. Collectors love mid-century Herend because the painting is crisp and production numbers were modest. Small trays like this aren’t common and, in good condition, are considered vintage rather than everyday commonware.