Signed Original

16" in diameter original clay plate. Signed by the artist original. Hand thrown and painted.

Set of 2 hand painted wine glasses. Painted in classic jewel tone colors of emerald green, purple, yellow with copper highlights. Set makes a very beautiful gift for any wine lover or enjoy them for yourself. Each glass is one of a kind and signed by the artisan.

Sealed Limited Edition Mid 1990 s Reissue With Custom Sticker On Shrink Wrap Pristine Copy With The Original Tower Records 13 99 Price Tag On The Shrink Wrap

The Beatles' last days as a band were as productive as any major pop phenomenon that was about to split. After recording the ragged-but-right Let It Be, the group held on for this ambitious effort, an album that was to become their best-selling. Though all four contribute to the first side's writing, John Lennon's hard-rocking, "Come Together" and "I Want You (She's So Heavy)" make the strongest impression. A series of song fragments edited together in suite form dominates side two; its portentous, touching, official close ("Golden Slumbers"/"Carry That Weight"/"The End") is nicely undercut, in typical Beatles fashion, by Paul McCartney's cheeky "Her Majesty," which follows. --Rickey Wright

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It's hard to believe that For Emma, Forever Ago is the work of one man. But when Justin Vernon's old band split he hauled himself (and presumably plenty of instruments and recording equipment) to his dad's hunting cabin in the woods of Wisconsin for the coldest season and worked through his issues in musical form. (The name comes from the French for "good winter"--"bon hiver"). By the start of the spring thaw he had recorded the bulk of this stunning debut, originally self-issued to acclaim last year in the USA and now picked up for a British release. Vernon's voice grabs the ear from the start, switching easily into a smooth falsetto (and unusually for a white indie lad, without the slightest intent of emulating Prince). The formula is straightforward. He layers his vocal harmonies, while a gently strummed acoustic rhythm guitar just about holds the centre. All else from horns to slide guitar is mere detail. The quality is rough and ready but the effect is strangely similar though to the slick vocal confections of European women like Bjork and Camille, all mystery and distance. It's the musical equivalent of reading someone else's diary. In code. Through a dirty window. Enigmatic songs like the elegantly stumbling "Creature Fear" with its rowdy horn parts, the resolute opener "Flume" and the evanescent "Team" are just so pretty they seem to glide by without leaving a mark in the snow. Vernon is apparently a straightforward and friendly guy, but For Emma, Forever Ago genuinely sounds like something from a far off place. --Steve Jelbert

Bon Iver's debut full-length For Emma, Forever Ago has been making major waves in critics circles based onthe strength of an early artist-pressed advance cd and a couple awe-inspiring sets at CMJ in October 2007.The New York Times called it ''irresistible'' and Pitchfork stamped its early review of the album with aRecommended tag. For those of you hiding away in a cabin of your own, it's time that you hear the story,and more importantly, the music.Bon Iver (pronounced: bohn eevair; French for ''good winter'' and spelled wrong on purpose) is a greeting, acelebration and a sentiment. It is a new statement of an artist moving on and establishing the groundworkfor a lasting career. For Emma, Forever Ago is the debut of this lineage of songs. As a whole, the record isentirely cohesive throughout and remains centered around a particular aesthetic, prompted by the time andplace for which it was recorded. Justin Vernon, the primary force behind Bon Iver, seems to have tested hisboundaries to the maximum, and in doing so has managed to break free from any pre-cursing or finishedforms.It wasn't planned. The goal was to hibernate. Vernon moved to a remote cabin in the woods of NorthwesternWisconsin at the onset of winter. He lived there alone for three months, filling his days with wood splittingand other chores around the land. This solitary time slowly began feeding a bold, uninhibited new musicalfocus. The days slowly evolved into nights filled with twelve-hour recording blocks, breaking only for tripson the tractor into the pines to saw and haul firewood, or for frozen sunrises high up a deer stand. All of hispersonal trouble, lack of perspective, heartache, longing, love, loss and guilt that had been stock piled overthe course of the past six years, was suddenly purged into the form of song.TRACKLISTING:FlumeLump SumSkinny LoveThe Wolves (Act I and II)BlindsidedCreature FearTeamFor Emmare: stacks

Star Trek I : The Original Motion PictureBack when the first Star Trek feature was released in December 1979, the Trek franchise was still relatively modest, consisting of the original TV series, an animated cartoon series from 1973-74, and a burgeoning fan network around the world. Series creator Gene Roddenberry had conceived a second TV series, but after the success of Star Wars the project was upgraded into this lavish feature film, which reunited the original series cast aboard a beautifully redesigned starship U.S.S. Enterprise. Under the direction of Robert Wise (best known for West Side Story), the film proved to be a mixed blessing for Trek fans, who heatedly debated its merits; but it was, of course, a phenomenal hit. Capt. Kirk (William Shatner) leads his crew into the vast structures surrounding V'Ger, an all-powerful being that is cutting a destructive course through Starfleet space. With his new First Officer (Stephen Collins), the bald and beautiful Lieutenant Ilia (played by the late Persis Khambatta) and his returning veteran crew, Kirk must decipher the secret of V'Ger's true purpose and restore the safety of the galaxy. The story is rather overblown and derivative of plots from the original series, and avid Trekkies greeted the film's bland costumes with derisive laughter. But as a feast for the eyes, this is an adventure worthy of big-screen trekkin'. Douglas Trumbull's visual effects are astonishing, and Jerry Goldmith's score is regarded as one of the prolific composer's very best (with its main theme later used for Star Trek: The Next Generation). And, fortunately for Star Trek fans, the expanded 143-minute version (originally shown for the film's network TV premiere) is generally considered an improvement over the original theatrical release. --Jeff ShannonStar Trek II :The Wrath of KhanAlthough Star Trek: The Motion Picture had been a box-office hit, it was by no means a unanimous success with Star Trek fans, who responded much more favorably to the "classic Trek" scenario of Star Trek II: The Wrath of Khan. Inspired by the "Space Seed" episode of the original TV series, the film reunites newly promoted Admiral Kirk with his nemesis from the earlier episode--the genetically superior Khan (Ricardo Montalban)--who is now seeking revenge upon Kirk for having been imprisoned on a desolated planet. Their battle ensues over control of the Genesis device, a top-secret Starfleet project enabling entire planets to be transformed into life-supporting worlds, pioneered by the mother (Bibi Besch) of Kirk's estranged and now-adult son. While Mr. Spock mentors the young Vulcan Lt. Saavik (then-newcomer Kirstie Alley), Kirk must battle Khan to the bitter end, through a climactic starship chase and an unexpected crisis that will cost the life of Kirk's closest friend. This was the kind of character-based Trek that fans were waiting for, boosted by spectacular special effects, a great villain (thanks to Montalban's splendidly melodramatic performance), and a deft combination of humor, excitement, and wondrous imagination. Director Nicholas Meyer (who would play a substantial role in the success of future Trek features) handles the film as a combination of Moby Dick, Shakespearean tragedy, World War II submarine thriller, and dazzling science fiction, setting the successful tone for the Trek films that followed. --Jeff ShannonStar Trek III : The Search for Spock You didn't think Mr. Spock was really dead, did you? When Spock's casket landed on the surface of the Genesis planet at the end of Star Trek II, we had already been told that Genesis had the power to bring "life from lifelessness." So it's no surprise that this energetic but somewhat hokey sequel gives Spock a new lease on life, beginning with his rebirth and rapid growth as the Genesis planet literally shakes itself apart in a series of tumultuous geological spasms. As Kirk is getting to know his estranged son (Merritt Butrick), he must also do battle with the fiendish Klingon Kruge (Christopher Lloyd), who is determined to seize the power of Genesis from the Federation. Meanwhile, the regenerated Spock returns to his home planet, and Star Trek III gains considerable interest by exploring the ceremonial (and, of course, highly logical) traditions of Vulcan society. The movie's a minor disappointment compared to Star Trek II, but it's a--well, logical--sequel that successfully restores Spock (and first-time film director Leonard Nimoy) to the phenomenal Trek franchise...as if he were ever really gone. With Kirk's willful destruction of the U.S.S. Enterprise and Robin Curtis replacing the departing Kirstie Alley as Vulcan Lt. Saavik, this was clearly a transitional film in the series, clearing the way for the highly popular Star Trek IV. --Jeff ShannonStar Trek IV : The Voyage Home Jumping on to the end-of-the-century bandwagon a little early, Paramount Pictures released 10 of their top films in one 10-pack, the Millennium Collection, in 1998. All the films are presented in their widescreen editions; one, Breakfast at Tiffany's, is offered in this format for the first time. The set includes 5 Best Picture Oscar winners and films that took home an additional 33 Academy Awards. All the tapes are available to buy individually. The pack, with a handsome mosaic of faces from the movies, also features collector gift cards (a movie version of baseball cards) and a commemorative booklet detailing the productions of all 10 films. The collection is oddly weighted toward the last 25 years, offering only one film from the 1950s and one from the 1960s. Your taste in current cinema will define the value of the set. Besides Tiffany's, one of Audrey Hepburn's finest films, the collection contains: The Ten Commandments with Charlton Heston, Grease with John Travolta, Francis Ford Coppola's Apocalypse Now and The Godfather, the funny, whale-saving Star Trek IV--The Voyage Home, Tom Cruise's hit Top Gun, the smash hit Ghost with Demi Moore, Mel Gibson's Celt fest Braveheart, and Forrest Gump with Tom Hanks. --Doug ThomasStar Trek V :The Final FrontierMovie critic Roger Ebert summed it up very succinctly: "Of all of the Star Trek movies, this is the worst." Subsequent films in the popular series have done nothing to disprove this opinion; we can be grateful that they've all been significantly better since this film was released in 1989. After Leonard Nimoy scored hits with Star Trek III and IV, William Shatner used his contractual clout (and bruised ego) to assume directorial duties on this mission, in which a rebellious Vulcan (Laurence Luckinbill) kidnaps Federation officials in his overzealous quest for the supreme source of creation. That's right, you heard it correctly: Star Trek V is about a crazy Vulcan's search for God. By the time Kirk, Spock, and their Federation cohorts are taken to the Great Barrier of the galaxy, this journey to "the final future" has gone from an embarrassing prologue to an absurd conclusion, with a lot of creaky plotting in between. Of course, die-hard Trekkies will still allow this movie into their video collections; but they'll only watch it when nobody else is looking. After this humbling experience, Shatner wisely relinquished the director's chair to Star Trek II's Nicholas Meyer. --Jeff ShannonStar Trek VI : The Undiscovered CountryStar Trek V left us nowhere to go but up, and with the return of Star Trek II director Nicholas Meyer, Star Trek VI restored the movie series to its classic blend of space opera, intelligent plotting, and engaging interaction of stalwart heroes and menacing villains. Borrowing its subtitle (and several lines of dialogue) from Shakespeare, the movie finds Admiral Kirk (William Shatner) and his fellow Enterprise crew members on a diplomatic mission to negotiate peace with the revered Klingon Chancellor Gorkon (David Warner). When the high-ranking Klingon and several officers are ruthlessly murdered, blame is placed on Kirk, whose subsequent investigation uncovers an assassination plot masterminded by the nefarious Klingon General Chang (Christopher Plummer) in an effort to disrupt a historic peace summit. As this political plot unfolds, Star Trek VI takes on a sharp-edged tone, with Kirk and Spock confronting their opposing views of diplomacy, and testing their bonds of loyalty when a Vulcan officer is revealed to be a traitor. With a dramatic depth befitting what was to be the final movie mission of the original Star Trek crew, this film took the veteran cast out in respectably high style. With the torch being passed to the crew of Star Trek: The Next Generation, only Kirk, Scotty, and Chekov would return, however briefly, in Star Trek: Generations. --Jeff Shannon

Seven-disc set includes "Star Trek: The Motion Picture," "Star Trek II: The Wrath of Khan," "Star Trek III: The Search for Spock," "Star Trek IV: The Voyage Home," "Star Trek V: The Final Frontier," "Star Trek VI: The Undiscovered Country," and a disc full of extras.

Disney's 1959 animated effort was the studio's most ambitious to date, a widescreen spectacle boasting a gorgeous waltz-filled score adapting Tchaikovsky. In the 14th century, the malevolent Maleficent (not dissimilar to the wicked Queen in Disney's Snow White and the Seven Dwarfs) taunts a king that his infant Aurora will fatally prick her finger on a spinning wheel before sundown on her 16th birthday. This, of course, would deny her a happily-ever-after with her true love. Things almost but not quite turn out that way, thanks to the assistance of some bubbly, bumbling fairies named Flora, Fauna, and Merryweather. It's not really all that much about the title character--how interesting can someone in the middle of a long nap be, anyway? Instead, those fairies carry the day, as well as, of course, good Prince Phillip, whose battle with the malevolent Maleficent in the guise of a dragon has been co-opted by any number of animated films since. See it in its original glory here. And Malificent's castle, filled with warthogs and demonic imps in a macabre dance celebrating their evil ways, manages a certain creepy grandeur. --David Kronke

David O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could be and do and look like. In many respects he got what he worked so hard to achieve in this 1939 epic (and all-time box-office champ in terms of tickets sold), and in some respects he fell far short of the goal. While the first half of this Civil War drama is taut and suspenseful and nostalgic, the second is ramshackle and arbitrary. But there's no question that the film is an enormous achievement in terms of its every resource--art direction, color, sound, cinematography--being pushed to new limits for the greater glory of telling an American story as fully as possible. Vivien Leigh is still magnificently narcissistic, Olivia de Havilland angelic and lovely, Leslie Howard reckless and aristocratic. As for Clark Gable: we're talking one of the most vital, masculine performances ever committed to film. --Tom Keogh

David O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could be and do and look like. In many respects he got what he worked so hard to achieve in this 1939 epic (and all-time box-office champ in terms of tickets sold), and in some respects he fell far short of the goal. While the first half of this Civil War drama is taut and suspenseful and nostalgic, the second is ramshackle and arbitrary. But there's no question that the film is an enormous achievement in terms of its every resource--art direction, color, sound, cinematography--being pushed to new limits for the greater glory of telling an American story as fully as possible. Vivien Leigh is still magnificently narcissistic, Olivia de Havilland angelic and lovely, Leslie Howard reckless and aristocratic. As for Clark Gable: we're talking one of the most vital, masculine performances ever committed to film. --Tom Keogh

ATTRIBUTES Blade Detail: Plain Edge Blade Length (inches): 9.00 Blade Material: Stainless Carry System: Leather Sheath Handle Material: Cord Wrapped Overall Length (inches): 14.00 Special Features: Survival Kit inside the Handle

Measuring approx. 16 inches in height, this sculpture and lamp is a superb representation of the Art Deco style. Made with cold cast bronze, this piece features bold outlines and geometric forms that convey affluence and sophistication. It is even more impressive when doubled up as a pair. The photos do not do justice. The special production process of this piece, originated from Great Britain, uses actual bronze powder mixed in the cold cast resin in order to ensures a richer, more life-like presentation. The polished elegance and refined beauty, combined with its function for everyday use, delivers the essence of Art Deco and provides a captivating visual focus. This piece is heavy and well made. The power cord has a on/off switch and the bottom is padded for the protection of your furniture. Simply put, very much a class act quality product.

This 1992 crowd pleaser made almost as much money for Whitney Houston as its chart-busting soundtrack. A high-wattage star vehicle as only Hollywood can make, The Bodyguard stars Houston as a pop-music diva (now there's a stretch) and Kevin Costner as the stern bodyguard who is assigned to protect her after the singer receives some nasty death threats. Pop star and bodyguard don't hit it off at first, but they wear down each others' defenses, and before long Houston is baring her tonsils with a rousing rendition of the Dolly Parton chestnut "I Will Always Love You." The film, written by Lawrence Kasden, was originally intended for Steve McQueen, but the script languished for years before Houston took an interest in the project. A proposed sequel would potentially have starred Costner and Princess Diana, until Diana's tragic death precluded that possibility. --Jeff Shannon

Smash hit starring Whitney Houston as a world-famous singer-actress who hires former Secret Service agent Kevin Costner as her personal protector after she receives threatening letters from a disturbed fan. While trying to adjust to life in the public eye, the bodyguard falls in love with his beautiful client. Songs include "I Have Nothing" and "I Will Always Love You." 129 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, French Dolby Digital Surround stereo; Subtitles: English, French, Spanish; audio commentary by Costner, Houston, others; "making of" documentary; music video; theatrical trailer.

The Dark Knight arrives with tremendous hype (best superhero movie ever? posthumous Oscar for Heath Ledger?), and incredibly, it lives up to all of it. But calling it the best superhero movie ever seems like faint praise, since part of what makes the movie great--in addition to pitch-perfect casting, outstanding writing, and a compelling vision--is that it bypasses the normal fantasy element of the superhero genre and makes it all terrifyingly real. Harvey Dent (Aaron Eckhart) is Gotham City's new district attorney, charged with cleaning up the crime rings that have paralyzed the city. He enters an uneasy alliance with the young police lieutenant, Jim Gordon (Gary Oldman), and Batman (Christian Bale), the caped vigilante who seems to trust only Gordon--and whom only Gordon seems to trust. They make progress until a psychotic and deadly new player enters the game: the Joker (Heath Ledger), who offers the crime bosses a solution--kill the Batman. Further complicating matters is that Dent is now dating Rachel Dawes (Maggie Gyllenhaal, after Katie Holmes turned down the chance to reprise her role), the longtime love of Batman's alter ego, Bruce Wayne. In his last completed role before his tragic death, Ledger is fantastic as the Joker, a volcanic, truly frightening force of evil. And he sets the tone of the movie: the world is a dark, dangerous place where there are no easy choices. Eckhart and Oldman also shine, but as good as Bale is, his character turns out rather bland in comparison (not uncommon for heroes facing more colorful villains). Director-cowriter Christopher Nolan (Memento) follows his critically acclaimed Batman Begins with an even better sequel that sets itself apart from notable superhero movies like Spider-Man 2 and Iron Man because of its sheer emotional impact and striking sense of realism--there are no suspension-of-disbelief superpowers here. At 152 minutes, it's a shade too long, and it's much too intense for kids. But for most movie fans--and not just superhero fans--The Dark Knight is a film for the ages. --David HoriuchiOn the DVDUnlike the Blu-ray disc, The Dark Knight on DVD is completely in 2.40:1 aspect ratio. You can, however, watch the six IMAX scenes separately. Also on disc 2 are "Gotham Uncovered: The Creation of a Scene," which is behind-the-scenes footage about the Bat suit, the Bat pod, and the music; eight-minute segments of Gotham Central, a faux-news program that gives some background to events in the movie; plus a variety of trailers, poster art, and more. Last, there's a digital copy of the film compatible with iTunes and Windows Media (download code expires 12/9/09). --David Horiuchi

With Gotham City held in the grip of organized crime, Batman (Christian Bale), Lt. Jim Gordon (Gary Oldman), and D.A. Harvey Dent (Aaron Eckhart) vow to clean up the streets. But their plan doesn't allow for the Joker (Best Supporting Actor Oscar-winner Heath Ledger), a psychotic, clown-faced criminal whose unbridled chaos results in Dent's transformation into the disfigured, dual-minded Two-Face. Christopher Nolan's blockbuster follow-up also stars Michael Caine, Maggie Gyllenhaal, Morgan Freeman. 153 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, French Dolby Digital 5.1, Spanish Dolby Digital 5.1; Subtitles: English (SDH), French, Spanish; featurettes; IMAX sequences; photo gallery; poster gallery; theatrical trailers; bonus digital copy for PC; more. Two-disc set.

Hair Comb Detangler Bolivian Rosewood 2" Functional Prong Our De-Tangler is sure to please and become one of your favorites of our many original hair comb designs! Hand crafted with pride and care in the beautiful southern Appalachian mountains of E. Tennessee. 3 3/8 inches top to bottom, 3.75 inches side to side, 4.25 inches top width functional length of the teeth of the comb is 2 inches. stimulates and massages the scalp as you de-tangle your long hair it weighs about 1 ounces. All rights reserved - signed and dated by Baerreis - 2011

Authentic Signed Swarovski pave Azhara with pearl head band briadal tiara new in original box,tag and certificate