Some fine pieces were produced by the firm of Lefebure in Bayeux between 1900 and 1914.
But the bulk of pieces were produced in either the mid- to late 19th or early 20th centuries.
Types of statue common in the Middle Kingdom and 18th dynasty were revived, and many very fine pieces were produced.
Many pottery pieces were produced at Nīshāpūr, however, with only a single line on a white background.
The majority of pieces were produced as successive stages of a print run and as such never intended for public display.
All these and many more pieces were produced by anonymous artisans in palace workshops in Beijing and other major art centers of the Qing dynasty (1644-1911).
Millions upon millions of these pieces were produced in the plains below and hauled up the hill, as the city constantly expanded.
The higher-quality Bakelite pieces were produced in limited numbers, making them hot collectibles today.
The companion pieces were produced in the 1500s by the Renaissance artist and are considered to be among his greatest works.
Despite the rushed timeline, Tabb took on the challenge, and suggested that some pieces be produced locally in order to speed up the process, as others were made in China at the same time.
