First Nations Original Vintage - Intricate Handcrafted Whale Double Rattle Walking Stick with Medicine Pouch - Hidden Signature

Note: Broken Whale Tail - See Pictures
Measurements: 55 x 2.5 x 6 inches 
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First Nations Original Vintage - Intricate Handcrafted Whale Double Rattle Walking Stick with Medicine Pouch - Hidden Signature

Beautiful Swiss Made Courbette Leather Saddle with Renowned Sprenger Stirrups  Tagged &#34;Cirri Nicholishen - Courbette&#34; 
The Courbette saddle is a high-quality dressage saddle designed and manufactured in Switzerland
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Beautiful Swiss Made Courbette Leather Saddle with Renowned Sprenger Stirrups  Tagged &#34;Cirri Nicholishen - Courbette&#34; 

Vintage Cool - Heavy Spanish Toledo Steel &#34;Dragon Slayer&#34; Broadsword - Bronze & Wood Decorated Wolf Hilt & Pommel
Measurements: 32 x 4.75 x 1 inch 
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Vintage Cool - Heavy Spanish Toledo Steel &#34;Dragon Slayer&#34; Broadsword - Bronze &#38; Wood Decorated Wolf Hilt &#38; Pommel

20th Century Olympia Carina 2 Typewriter with Travel Case - Needs Ribbon - All Functions as it should

Olympia-Werke AG was an important German manufacturer of typewriters and other office equipment.
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20th Century Olympia Carina 2 Typewriter with Travel Case

Vintage Italian - Classical Roman Cultured Marble &#34;A. Santini&#34; (born in Italy in 1910 and died in 1975) Sculpted &#34;The Wash Basin&#34;

Made by artist Amilcare Santini. He was born in Italy in 1910 and died in 1975. Santini sculptures are made of a molded marble dust and resin composite that imitates the look of alabaster stone.
Measurements: 9.5 x 4 x 2.75 inches 
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Vintage Italian - Classical Roman Cultured Marble &#34;A. Santini&#34; (born in Italy in 1910 and died in 1975) Sculpted &#34;The Wash Basin&#34;

Northwest Coast Haida First Nations Imagery &#34;Shamans Hawk&#34; Cultured Wood Image from Original Haida Pole
Measurements: 7.5 x 3.5 x 3.75 inches 
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Northwest Coast Haida First Nations Imagery &#34;Shamans Hawk&#34; Cultured Wood Image from Original Haida Pole

Vintage &#34;Edward Marchuk&#34; Signed &#34;The Journey&#34; Photo Lithographic Reproduction - 271/275 with COA - Giltwood Framed Under Glass
Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg)

The Journey 
Based Upon An Engraving of Dürer&#39;s Knight, Death, and the Devil is one of three large prints of 1513–14 known as his Meisterstiche (master engravings). The other two are Melancholia I and Saint Jerome in His Study. Though not a trilogy in the strict sense, the prints are closely interrelated and complementary, corresponding to the three kinds of virtue in medieval scholasticism—theological, intellectual, and moral. Called simply the Reuter (Rider) by Dürer, Knight, Death, and the Devil embodies the state of moral virtue. The artist may have based his depiction of the &#34;Christian Knight&#34; on an address from Erasmus&#39;s Instructions for the Christian Soldier (Enchiridion militis Christiani), published in 1504: &#34;In order that you may not be deterred from the path of virtue because it seems rough and dreary ... and because you must constantly fight three unfair enemies—the flesh, the devil, and the world—this third rule shall be proposed to you: all of those spooks and phantoms which come upon you as if you were in the very gorges of Hades must be deemed for naught after the example of Virgil&#39;s Aeneas ... Look not behind thee.&#34; Riding steadfastly through a dark Nordic gorge, Dürer&#39;s knight rides past Death on a Pale Horse, who holds out an hourglass as a reminder of life&#39;s brevity, and is followed closely behind by a pig-snouted Devil. As the embodiment of moral virtue, the rider—modeled on the tradition of heroic equestrian portraits with which Dürer was familiar from Italy—is undistracted and true to his mission. A haunting expression of the vita activa, or active life, the print is a testament to the way in which Dürer&#39;s thought and technique coalesced brilliantly in the &#34;master engravings.&#34;

Albrecht Dürer, sometimes spelled in English as Durer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints
Measurements: 28 x 33 inches 
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Vintage &#34;Edward Marchuk&#34; Signed &#34;The Journey&#34; Photo Lithographic Reproduction - 271/275 with COA - Giltwood Framed Under Glass - Albrecht Dürer (Germa

Antique 19th Century Duo - Bronze &#34;Spanish Colonial Conquistador Stirrups&#34; Set

Spanish Colonial Conquistador stirrups, typically made of brass or bronze, were designed to provide stability and foot protection for riders, especially those in heavy armor. These stirrups, often shoe-shaped, allowed for a secure platform for the rider while mounted and aided in mounting and dismounting. They were used from the 17th-18th centuries onwards in New Spain territories. 
Antique Pair of Bronze Brass Spanish Colonial Conquistador ...
Here&#39;s a more detailed explanation:
Functionality:
The primary function of these stirrups was to provide a stable base for the rider, allowing them to stand and wield weapons like lances or swords, or to shoot arrows while mounted. 
Foot Protection:
The enclosed shape of the stirrups, often resembling slippers, offered protection to the rider&#39;s feet from injury, particularly when riding in rugged terrain or during battle. 
Material and Construction:
Antique-Brass-Conquistador-Stirrup-1700s-Rustic-Decor pieces were often made from brass or bronze, sometimes even melted down church bells or cannons. This provided durability and resistance to rust. 
Historical Context:
These stirrups are commonly associated with Spanish Conquistadors who brought them to the Americas during their conquests. They were used not only in warfare but also for ceremonial purposes, with wealthier landowners using ornate, silver-plated versions for special occasions. 
Modern Use:
While no longer used in active warfare, these stirrups are popular as decorative items and collectibles, often displayed in homes, museums, or historical reenactments. 
Measurements: 8.5 x 5 x 4 inches x 2 
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Antique 19th Century Duo - Bronze &#34;Spanish Colonial Conquistador Stirrups&#34; Set

Very Vintage - Eastern Asian Musical Cloisonne Eight Bells Display Stand with Striker 
Measurements: 13 x 6.5 x 2.5 inches
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Very Vintage - Eastern Asian Musical Cloisonne Eight Bells Display Stand with Striker 

Vintage Miniature Stainless Steel Samurai Sword & Scabbard 
Measurements: 6.5 inches Sheathed
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Vintage Miniature Stainless Steel Samurai Sword &#38; Scabbard 

Stunning Vintage &#34;Jade with Silver & Gold Plate Unisex Ring
Measurements: Size 8
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Stunning Vintage &#34;Jade with Silver &#38; Gold Plate Unisex Ring

Vintage & Beautiful - Bejewelled Golden &#34;Cleopatra Mirrored Compact&#34;
Measurements: 2.75
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Vintage &#38; Beautiful - Bejewelled Golden &#34;Cleopatra Mirrored Compact&#34;

Leather Bound 1874 - 1974 Royal Canadian Mint 100th Anniversary of Winnipeg
Measurements: 4.75 x 4 x 1 inch
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Leather Bound 1874 - 1974 Royal Canadian Mint 100th Anniversary of Winnipeg

1971 British Columbia Centennial Double Dollar Prestige Set – Royal Canadian Mint
Specimen 50% silver 1 coin commemorates the 100th Anniversary of the entry of British Columbia into Confederation in 1871, with the design based upon the Provincial Arms.

Packaging
Royal Canadian Mint issued Prestige Set comes in black leatherette with Crest of Canada, book type with clasp. Red satin inside red flocked 7-hole stationary display  – coloured flocked jackets.

Face Value: Set – Included are 1, 50 cent, 25 cent, 10 cent, 5 cent, and penny coins.
Mintage: 66,860
Composition: British Columbia Centennial 1 – 50% silver;
Weight (g):
Diameter(mm):
Finish: Specimen
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1971 British Columbia Centennial Double Dollar Prestige Set – Royal Canadian Mint Specimen 50% silver $1 coin commemorates the 100th Anniversary of th

South East Asia - Antique India 19th Century  &#34;Hindu Bronze Rider & Horse&#34; with &#34;Domed Chariot&#34; Temple Toy 
Measurements: 11 x 8 x 3 inches - Assembled 
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South East Asia - Antique India 19th Century &#34;Hindu Bronze Rider &#38; Horse&#34; with &#34;Domed Chariot&#34; Temple Toy 

First Nations Vintage Original 1994 Stone Sculpture With Signature &#34;North Wind&#34; Multi Elements

Note* Minor chips - see pictures
Measurements: 7 x 6.5 x 4 inches
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First Nations Vintage Original 1994 Stone Sculpture With Signature &#34;North Wind&#34; Multi Elements

Northwest Coastal First Nations Vintage 1996 Original &#34;Telqua&#34; Wood Carved &#34;Copper Eyed Bear&#34; Mask
Measurements: 7 x 5 x 5 inches
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Northwest Coastal First Nations Vintage 1996 Original &#34;Telqua&#34; Wood Carved &#34;Copper Eyed Bear&#34; Mask

Vintage &#34;Silver Setting&#34; Lapis Lazuli Necklace
Measurements: 8 inches Clasped
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Vintage &#34;Silver Setting&#34; Lapis Lazuli Necklace

Vintage Hand Sculpted Canadian Jade
&#34;Tusked Walrus&#34;
Measurements: 4.5 x 2 x 1.5 inches 
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Vintage Hand Sculpted Canadian Jade &#34;Tusked Walrus&#34;

Mid 20th Century RCA Victor &#34;Victrola&#34;  Powers up & (16  - 33 - 45 - 78) Four Speed Working - Untested Needle
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Mid 20th Century RCA Victor &#34;Victrola&#34;  Powers up &#38; (16  - 33 - 45 - 78) Four Speed Working - Untested Needle

Eastern Asian Beautifully Sculpted  Original Wood &#34;Foo Dogs&#34;

Shi and Ser: and the Lions of Kings
Although ubiquitously and colloquially known in the West as Foo Dogs, these creatures are seldom referred to as dogs in Chinese. Rather, they are Shi, or lions. It is customary to delineate the creatures&#39; materials or mediums. As such, a stone lion is shishi, while a bronze lion is tongshi. These are also sometimes acknowledged by their innate qualities or abilities: and an auspicious lion is Ruishi, a fortuitous lion is Fushi, while the Lion of Buddha is Foshi.

The history of Chinese lions dates back thousands of years, with the earliest record of lions coming from the Han Dynasty (221 BCE - 200 CE). Geographically, lions were not native to China, but historians believe that lions came into Chinese knowledge through trade along the Silk Route. Han imperial records also indicate that lions were brought to the Han court by emissaries from Central Asia and Persia. The word Shi, itself, is believed to be derived from the Persian word for lion, or Ser.

Han Dynasty Metal Lion Mask
A Han Dynasty metal mask with lion features

Imperial records from this era, written by royal court minstrels, also expressed the majestic qualities of the lion and how they captivated Han&#39;s emperors. As a result, the Han royalty adopted the lion as protection iconography and adorned their tombs and shrines with stone and earthen sculptures of these magnificent creatures. These sculptures were often placed in pairs, one on each side of an entrance, to act as guardians.

Two of the surviving sculptures from that era are the lion statues of Gaoyi Que, in Gaoyi Township of Hunan. A que is a freestanding ceremonial gate pillar, first developed in the Zhou Dynasty (1046 BCE - 256 CE) and used until the Qing Dynasty (1644 - 1912 CE) These pillars act as gates without doors or walls and serve as spiritual gateways for royal tombs. The two strikingly well preserved sculptures of male lions stand guard at Gaoyi Que. Their appearance conforms to the standard depiction of the male Asiatic lions that once roamed Central and Southern Asia. They have hairy manes, large paws, slender bodies that taper toward narrow waists, and they stand on four legs with heads held high. This is one of the earliest known examples of lion statues being placed in pairs, a practice that would become more common in years to come.

Gaoyi Que Lion Statues
These twin statues at the Gaoyi Que complex are some of the oldest known surviving examples of lion sculpture in China.

Other early artwork depicting lions can be found in royal tombs such as the Wu Family Shrines in Shantung Province (dated to approximately 147 CE), and the Teng-Hsien tomb from the Six Dynasties Period (220–589 CE) Unlike their depiction in the west, where lion imagery was commonly used as an imperial and courtly symbol, the Chinese expanded on these creatures&#39; majestic power and established them as the guardians of liminal space, the transitional space between the physical and spiritual realm.

In 2017, the Metropolitan Museum of Art hosted an exhibition titled &#39;Age of Empires, Chinese Art of the Qin and Han Dynasty.&#39; In this exhibition were two lion sculptures, one from the Han Dynasty and one from the Northern Qi Dynasty (550-577 CE) These two sculptures exemplify the artistic change in lion imagery that took place during these two dynasties. Unlike the Han Dynasty&#39;s semi-realistic, elongated, and rigid depiction, the later Qi sculpture has a much more naturalistic roundness to its movement. More importantly however, this sculpture showcases a stylized depiction of the lion&#39;s mane, with a whorl pattern across its body, which eventually became the standard for lion stone sculptures of later generations.

Qi Dynasty Chinese Lion Statue
Chinese lion statue from the Qi Dynasty, mid 6th century. This statue is one of a pair featured at a Metropolitan Museum of Art exhibition in 2017.

Northern Qi Dynasty Chinese Lion Sculpture
Corresponding lion statue showing a whorl pattern on the shoulders and body. This circular or spiral pattern would become more common in later Chinese lion sculptures.

Buddhism and the Lion’s Roar
Images of lions continued to be prominent during the Tang Dynasty (618-907 CE). This era saw a long period of peace and prosperity during which Buddhism would become officially adopted as the imperial religion. This led to countless Buddhist temples being erected across China, especially cave temples along the Silk Route in China’s western region. These cave temples were often adorned with intricate stone relief carvings of lions at their entrances.

Painting of Buddha atop a Lion
Although lion images originated in China during the Han Dynasty, the lion imagery of the Tang Dynasty is much different, with roots within the origin of the Buddhist faith. Because lions were native to Southern Asia at the time, lions were often associated with the imperial court of India. Shakyamuni, being the prince of the Shakya tribe, was said to be the “lion of the Shakya tribe”. This title remained with him as he abandoned his princely title and entered Buddhahood. As a result, religious images often depict Shakyamuni sitting on top of a lion&#39;s throne, riding a lion, or having a lion pet sitting nearby, guarding the Buddha as he meditates. These depictions humanized the ferocious lion. Being the pet of the Buddha, the lions are also often depicted with an embroidered necklace, suggesting that it is no longer a wild beast, but a civilized and domesticated being.

The voice of the lion is also an important symbolic element in Buddhism. Folk tales around the world speak of the lion as the king of beasts, having dominion over all other animals. Having such a commanding stature and presence, the lion’s roar is enough to cause all other creatures to tremble in fear or flee. Derived from this premise, the Buddhist faith asserts that to speak with a lion’s roar is to speak with an unshakable confidence. It is the type of confidence that can only come from unwavering faith and trust in one’s heart regardless of outside influence. Thus, the lion’s roar symbolizes wisdom, fearlessness, and a divine pride in Dharma practitioners.

Wei Dynasty Buddhist Stela with Lion Imagery
The top of a limestone stela from the Northern Wei Dynasty, 6th century. A pair of lions sit at the throne of the Buddha.

Visit of Manjushri to Vimalakirti Stela
The base of the same limestone stela. A pair of lions flank the Buddha.

Yin and Yang: Lions of a Balanced World
The during the Song dynasty, culture, economy, and society saw a large boom. The population during the Song dynasty doubled. Economic development increased. Artistic development soared. It was also during this period that the popularity of Buddhism waned among the population. However, its influences remained within the general population, ushering in the new philosophical school of thought of neo-Confucianism and the reemergence of Taoism.

This change reverberated through society during the Song dynasty, guiding it to take on a much more structured form. Ideals of balance and order became important aspects for the Song courts and society. The belief in harmony of duality, expressed through Yin and Yang, is a core principle. The perspective of the world shifted from the transient realm of Buddhism to a balanced and orderly binary domain of neo-Confucianism. This philosophy can be seen in the artistic representation of the foo dogs, which would no longer be rendered as an identical pair of statues. The pair instead evolved into two separate forms, one female and the other male.

The lions, once perceived to be genderless or exclusively male, split to become two equal but opposing forces, the embodiment of balance of an orderly society. The Male has his paw on a beribboned ball, while the Female has hers on their cub. Interestingly enough, although the lions are male and female, their physical appearances are similar to the previous depiction of male lions: fully maned and muscle bound. A possible explanation for this is because the only visual reference Chinese artists have is of male lions that came into the Imperial Court as gifts. As a result, the artists were unaware of the biological differences between male and female lions.

Female Fu Dog Statue with Paw on Cub
A male Foo Dog statue showing a paw on a beribboned ball.

Male Fu Dog Statue with Paw on Ball
A female Foo Dog statue showing a paw on a cub.

The physical appearance of the lions is similar, but each is distinguished by the symbols that are depicted alongside the creatures. It is believed that the ball underneath the male lion represents the world. Images of lions playing with beribboned balls are decorative motifs during the Song Dynasty. Sculptures and paintings from this time also depicted the lion playing with an embroidered ball. This further removed the ferocious quality and illustrated the lion as a tamed animal. Mathematicians have analyzed the patterns used on these balls, and have determined that often the patterns used on these ornaments are mathematical structure. Composed of simple shapes that together form a solid sphere, these geometrical domes are said to represent the orderly and structured world.

Of course, the opposing quality of order is chaos. A fitting symbol able to represent such a quality is the newly born and yet-learned child. As such, the counterpart of the geodesic dome is a playful lion cub underneath the female lion paw. The cub depicted underneath the female paw enjoys a similar stylized depiction as its adult counterpart: fully maned with sharp teeth and claws. Perhaps it could also be interpreted through Taoist and Confucian perspectives, where the miniature cub is the perfect replicated version of its adult. As the son is a perfect replication of the father, daughter of the mother, and society of earth is the perfect reconstruction of the perfect and eternal heavenly court ruled by the gods.

Foo Dog Statues During the Ming and Qing Dynasties
The Ming Dynasty saw the return of the Imperial Court from the Mongol rule of the Yuan Dynasty. As a result, the Ming adopted a much more strict and isolationist policy. Trade along the silk road dwindled. Exacerbated by political and civil unrest in Europe and Central Asia, as well as a shrinking Asiatic lion population, artists in China lost their primary source of reference. Artists during the Ming Dynasty had to rely upon the visual depictions and oral interpretations of the lions from previous generations. These interpretations, however, tended to overly romanticize the majestic qualities of the lions. As a result, the lions joined the rank of the dragons and phoenixes, and their imagery became much more mythical.

Imperial Stone Chinese Foo Dogs Statues White Porcelain Oriental Jar with Peking Foo DogsTang Tri-Color Glazed Ceramic Chinese Foo Dog Set

Toward the latter half of the Ming Dynasty, the Ming court moved its capital to Beijing and constructed the Forbidden City. The Ming adorned their new capital with numerous lion statues. According to Jun Cheng in his book &#39;Traditional Lion Art in China,&#39; there are six pairs of bronze lion statues in the Forbidden City. They are located in various important gates around the city. All male lions in these gates have their paws on geometrical balls. The most famous of the lions, the pair that sit guarding the entrance of the main hall, or the Gate of Supreme Harmony, became the famous lions that many reproductions of later generations would draw inspiration from.

The Qing Dynasty directly succeeded the Ming and inherited the Forbidden City. Instead of building a new capital, most of their resources were focused on expanding the already existing infrastructure. Large gardens and additional courts were erected in the Forbidden City, with new stone and bronze lion statues being added also.

Yonghe Temple Foo Dog Statue
Qing Dynasty Foo Dogs like this statue at Yonghe Temple, are more dog-like in appearance than their Ming Dynasty predecessors.

The depictions of these new lions differed greatly from those of the previous generation. These lions are much more dog-like, more docile, and much less regal. They are also much more mythical, with the addition of scaled feet in some interpretations. The curled tongues of the Qing stone lions are more protruded and much more placid, as if the dog-lion is panting after a playful bout. The ears of the foo dogs of the Qing Dynasty also appear to be much more dog-like: long, floppy, and curling downward. Historians have suggested that this depiction of the foo dog ears, along with their placement in front of gardens and women courts, imply the foo dogs have turned its ears toward earth, away from the political and toward the domestic sphere.

Chinese Lions of Today
Foo dogs would eventually be introduced to the west not by way of the Silk Road but on the black ships of merchants, missionaries, and explorers of the 16th century. As trade relations between east and west grew, art and culture of the east became much more accessible to people in the west. However, the image and qualities of the foo dog had evolved and become so different from the actual earthly lions that inspired them, that these creatures were completely unrecognizable to people in the west. To them, these creatures were exotic, mythological beasts of the Orient. They were much more dog-like than the lion, and they called them shishi, foo dogs, or dogs of Buddha.

Today, foo dog statues and figurines have become a popular Feng Shui element in homes and are still incorporated as a prominent decoration at the entrance of buildings. In terms of appearance, these modern iterations vary greatly but most tend to be inspired by the Foo Dog statues of the Ming or Qing dynasty. Always featured in pairs, these mythical lions guard the dwelling and ward off evil spirits and intruders. They serve much in the same way as they were intended to serve thousands of years ago, as the guardians of the threshold, embodying the importance of liminality.



Measurements:  6 x 3 x 5.5 inches x 2 
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Eastern Asian Beautifully Sculpted  Original Wood &#34;Foo Dogs&#34;

Vintage Africa - Trio of New Hand Woven Zimbabwe Rhodesian Baskets

Zimbabwe is a landlocked country in southern Africa known for its dramatic landscape and diverse wildlife, much of it within parks, reserves and safari areas. On the Zambezi River, Victoria Falls make a thundering 108m drop into narrow Batoka Gorge, where there’s white-water rafting and bungee-jumping. Downstream are Matusadona and Mana Pools national parks, home to hippos, rhinos and birdlife.
Measurements: 10 x 3 inches x 2 & 12 x 3 inches x 1
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Vintage Africa - Trio of New Hand Woven Zimbabwe Rhodesian Baskets

Vintage Heavy Cast Resin &#34;Winged Dragon&#34; Stand
Measurements: 25 x 10 x 8 inches
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Vintage Heavy Cast Resin &#34;Winged Dragon&#34; Stand

Vintage &#34;Working&#34; Zippo Rainbow Lighter
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Vintage &#34;Working&#34; Zippo Rainbow Lighter

Port Coquitlam (British Columbia, Canada) SELLER MANAGED Downsizing Online Auction - Broadway Street

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White bisque porcelain cylinder vase with raised leaf motif, marked Kaiser West Germany, model 578/19, approx 7.5in H x 2.25in W x 3.25in D

Bisque porcelain relief vase 578/19

Side view of white bisque porcelain vase with relief leaf design

Top angle view showing interior and relief pattern

Base showing Kaiser West Germany mark and model number 578/19

Matte white bisque porcelain, relief stylized foliage, smooth interior, unglazed exterior

West Germany Kaiser Porcelain Vase 578/19

Mid 20th Century West Germany &#34;Kaiser Porcelain&#34; Numbered Vase 578 / 19

Kaiser is porcelain manufacturer founded in Coburg by August Alboth in 1872. His son Ernst Alboth moved the business to a new factory in Kronach in 1899. His grandson Willy and son in law Hubertus Kaiser joined the business and in 1927 and the company changed the name to “AL-KA” combining the first two letters of each family’s name. Slowly expanding they purchased a porcelain factory in Kronach in 1938. In 1951 there were three managers leading Kaiser, Georg Kaiser, Willy Alboth and Hubertus Kaiser who expanded the business further by building a new factory in the nearby town of Staffelstein and took over another manufacturer in Kronach.

Shortly before 1970 the general direction of the company was refocused on export and the name changed to Kaiser Porzellan. During this period Kaiser produced tableware designed by K. Nosse, unique textured mid-Century modern bisque vases and figurines.

From 2000 through 2010 Kaiser went through various different ownerships and continues to produce porcelain today.

Measurements: 7.5 x 2.25 x 3.25 
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Bid Date	Bid Amount
Aug 22, 2025, 2:59:25 AM	$14.00
Aug 22, 2025, 2:58:59 AM	$11.00
Aug 22, 2025, 2:58:59 AM	$10.00
Aug 22, 2025, 1:33:02 AM	$9.00
Aug 22, 2025, 1:33:02 AM	$8.00
Aug 22, 2025, 1:21:47 AM	$7.00
Aug 22, 2025, 1:21:47 AM	$6.00
Aug 19, 2025, 3:49:05 AM	$5.00
Aug 17, 2025, 4:05:06 AM	$4.00
Aug 15, 2025, 9:42:40 AM	$3.00
Aug 15, 2025, 4:32:19 AM	$2.00
Aug 10, 2025, 6:09:36 AM	$1.00

Lot #19: Mid 20th Century West Germany "Kaiser Porcelain" Numbered Vase 578 / 19

Only Available Pickup Date/Time: Sun, August 24 2025 Category A: 10:00 AM - 01:00 PM

Pickup Location: Broadway Street, Port Coquitlam, BC, V3C 2M8 View Map (opens in new window)

Lot #19: Mid 20th Century West Germany "Kaiser Porcelain" Numbered Vase 578 / 19

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Only Available Pickup Date/Time: Sun, August 24 2025 Category A: 10:00 AM - 01:00 PM

Pickup Location: Broadway Street, Port Coquitlam, BC, V3C 2M8 View Map (opens in new window)

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