1950's Toy Police Badges Official Vice Squad Plastic Federal Agent.. Selling both, brass one may be older than fifties, it's 1.75" federal agent is 1 1/8" tall.

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1950's Vintage Matchbooks Marlboro Phillip Morris 66 Cafe Chex Gum and More. Selling the 17 matchbooks shown from the 1940's and 50's. Some have been used some haven't, they are in the condition shown they are regular sized matchbooks. B12

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1950's Vintage Matchbooks Sun Maid Raisins Nestle Marlin Ambulance Cowboy Bars<br>Budweiser and more. Selling the 18 matchbooks shown from the 1940's and 50's<br>mostly. Some have been used some haven't, they are in the condition shown they<br>are regular sized matchbooks.<br>B12

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1950's Vintage Zuni sterling silver turquoise/spiny oyster butterfly brooch/pin. Selling the pin shown in good condition with weight and measurements in pictures. Circa second quarter of the 20th century.

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1950's William Spratling Necklace Modernistic Mexican Silver. 16", the chain by<br>itself is 12". Pendant part is 4" wide 1 3/16" wide at widest section. No<br>detectable issues, guaranteed authentic.<br><br>Spratling, an architect and artist who taught at Tulane University in New<br>Orleans, came to Mexico in the late 1920s and settled in the city of Taxco.<br>Having developed an interest in Mesoamerican archaeology and culture from his<br>colleagues at Tulane, he traveled to Mexico for several summers lecturing and<br>exploring. He sought out remote villages in the state of Guerrero, 110 miles<br>from Mexico City, where in some places Nahuatl, the Aztec language, was spoken.<br>Spratling collected artifacts and contemporary indigenous crafts.

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1950's William Spratling Sterling Screw back earrings. No damage, great vintage earrings. 16 grams total.

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1950's Zuni Channel inlay Sterling horse head cufflinks. Functional and cool as they come. Marked sterling on sides of bars.

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1950‘s Zuni Channel inlay Sterling thunderbird cufflinks. Functional and cool as they come. Marked sterling on sides of bars.

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1950's Zuni Conestoga Wagon Sterling channel inlay pin. Front wheels move. Measurements in pics

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1950's Zuni Silver Multi-Stone channel inlay Shriner's bolo tie 40" long 2.5" x<br>1 7/8" bolo slide, tips and bolo are sterling 32 grams.<br><br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist, rings photographed<br>on the appropriate sized finger when possible. With bracelets if the measurement<br>is not given in the description then inside circumference is shown where the<br>metal meets the number on the the cloth tape measure.

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1950's-60's Merck Diuril medical model promotional paperweights. Selling both,<br>plastic with no damage, filled with water. 6.5" tall. Attached is an example of<br>what a pair sold for in 2017 through an Auction house that's connected with<br>Ebay, first price is with the Buyers premium, second without. No buyers premium<br>here.<br>kitshelf

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1950s ADAC," Allgemeiner Deutscher Automobil- Club" Grill badge, German Automobile Club. Selling both badges with no significant issues. tw88

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1951 Field Dog Trials Bird Dog Ribbons/Medals from New Jerser/ Pennsylvania Keystone Setter and Pointer club. Fantastic and rare collection of medals and ribbons in a very nice period shadowbox. Red Ribbon is over 12" long and I managed to flip the Blue medal and the back says "L.V.P. & S.C. Spring 1951 First Puppy.

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1953 Falstaff Beer Token 50th Golden Anniversary 1"

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USS Boxer Far Eastern Cruise Book Navy/Marines. All pages intact, good spine.<br>Some shelf wear. Belonged to Boyce Ross U.S. Marine. I'll be listing two cruise<br>books and a scrapbook with photos separately. Only writing I noticed was notes<br>from his unit. Very interesting book approximately 180 pages printed in Japan.<br>10" x 11"<br>Tw87

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1955 Dallas Texas Anglers Club Medal 1st place. 1 5/16"

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USS Boxer Far Eastern Cruise Book Navy/Marines. All pages intact, the<br>spine/binding is a little weak in the center Some shelf wear, stain on back.<br>Belonged to Boyce Ross U.S. Marine. I'll be listing two cruise books and a<br>scrapbook with photos separately. Only writing I noticed was notes from his<br>unit. Very interesting book approximately 322 pages printed in Japan. 9" x<br>11.75"<br>Tw87

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Fenton Teal Blue cased glass barber bottle 9.75" tall with lid, part of cork<br>missing from bottom of stopper that still stays put when turned upside down, no<br>scratches or damage to bottle.<br>tw271

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1957 Harding Black Texas Studio Art pottery footed bowl with a fantastic complex<br>glaze<br>No cracks, chips, or restorations, no loss to glaze whatsoever. 6 3/8" wide x<br>1.25" tall.<br><br>Harding Black San Antonio (1912 - 2004)<br><br>A ceramist, sculptor, painter, bricklayer, teacher, Black graduated from<br>Brackenridge High School and attended San Antonio Junior College (1929-30). In<br>1933, Black was taught by Rudolph Staffel to make wheel-thrown pottery and also<br>began to teach children's ceramic classes at the Witte. Black directed ceramic<br>installation in a San Antonio reconstruction project sponsored by the National<br>Youth Administration and the Works Progress Administration art program. In 1955<br>he retired from teaching and devoted his time to ceramics. Black became a<br>well-known ceramist from his research, innovations, and writings in the field.<br>Black's collection and archive is housed at Baylor University. Harding Black's<br>work with clay serves an an important bridge between early Texas and mid-century<br>pottery.<br>b3

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1957 Harding Black Texas Studio Art pottery Lava Glaze vase. No cracks, chips,<br>or restorations 5 1/8" tall.<br><br>Harding Black San Antonio (1912 - 2004)<br><br>A ceramist, sculptor, painter, bricklayer, teacher, Black graduated from<br>Brackenridge High School and attended San Antonio Junior College (1929-30). In<br>1933, Black was taught by Rudolph Staffel to make wheel-thrown pottery and also<br>began to teach children's ceramic classes at the Witte. Black directed ceramic<br>installation in a San Antonio reconstruction project sponsored by the National<br>Youth Administration and the Works Progress Administration art program. In 1955<br>he retired from teaching and devoted his time to ceramics. Black became a<br>well-known ceramist from his research, innovations, and writings in the field.<br>Black's collection and archive is housed at Baylor University. Harding Black's<br>work with clay serves an an important bridge between early Texas and mid-century<br>pottery.<br>tw163

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1959 Boy Scouts Of America Transatlantic Council u.s. Scottish Exchange Presentation Beer Stein Lithopane. Rare one of a kind, there was likely one made and presented to each name on this Stein. So nine custom made and presented to each person. Oddly with a Lithopane in each Stein. No damage, very minor wear to Gilding, tight hinge.

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1959 Harding Black (1912-2004) Texas Studio Art pottery ginger jar with bubbly<br>cobalt blue glaze and hand incised decoration throughout. 7" tall x 6.5" tall,<br>an amazing Texas Mid century modern entirely handmade one of a kind jar made by<br>the celebrated potter Harding Black in 1959. It's amazing in so many ways, all<br>the incisions and decoration done by hand and a unique dark blue bubbly glaze.<br>It's estate fresh and has never been offered for sale anywhere until now, it's<br>mint with absolutely no damage, wear, or restorations.<br><br>Harding Black San Antonio (1912 - 2004)<br><br>A ceramist, sculptor, painter, bricklayer, teacher, Black graduated from<br>Brackenridge High School and attended San Antonio Junior College (1929-30). In<br>1933, Black was taught by Rudolph Staffel to make wheel-thrown pottery and also<br>began to teach children's ceramic classes at the Witte. Black directed ceramic<br>installation in a San Antonio reconstruction project sponsored by the National<br>Youth Administration and the Works Progress Administration art program. In 1955<br>he retired from teaching and devoted his time to ceramics. Black became a<br>well-known ceramist from his research, innovations, and writings in the field.<br>Black's collection and archive is housed at Baylor University. Harding Black's<br>work with clay serves an an important bridge between early Texas and mid-century<br>pottery.<br><br>anderas

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1960 c-31 Elliott Qualo Zuni sterling silver intarsia inlay Ghan dancer bolo tie. Tested and guaranteed solid sterling silver slide and tips. Weight and measurements in pictures. Circa third quarter of the 20th century. Unmarked.38" long.

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1960 Kentucky Derby Sterling clip. Buying the clip shown, tie clip or whatever kind of clip you want it to be. Or just the rare Kentucky Derby memorabilia item it is. 12.5 grams, sterling functional with no issues.

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1960's Bell Trading Post Navajo Sterling and turquoise Spider Bolo Tie Good condition with no issues, I don't believe the tips are sterling. Bolo measures 1.75" x 1.25" 18" long with both strings together.

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1960's Bing and Grondahl Love Refused Figure Boy and Girl. No cracks, chips, or<br>restorations. 7" tall.<br>B22

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1960's Bing and Grondahl Tom and Willy Two brothers 7 5/8" tall x 5.5" deep with no cracks, chips, or restorations. TW190

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L'artista californiano Paul E. Killinger (1927-1996) degli anni '60 ha trasformato una ciotola in legno di mogano brasiliano con coperchio Mid Century Modern. Veniva dalla PA Originariamente nel sud della California. È stato incluso nella mostra di artigianato al Pasadena Art Museum nel 1965 intitolata California Design 9 che era un who's who del design, tra cui Evelyn Ackerman, Paul Soldner, i Natzlers, Sam Maloof e molti altri. Aveva 3 ciotole di legno nello spettacolo. Il suo discorso a Ca. era 5104 Valencia Dr. Orange. Era un contemporaneo di Paul Eshelman, il famoso tornitore di ciotole di Pennsylvania, le cui ciotole costano circa $ 1000. Questa ciotola è contrassegnata sul fondo con il suo timbro "Paul". Buone condizioni senza danni o segni di usura significativi.TW 210

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1960's Cybis Porcelain Owl and Mouse Figures. Tallest 4.6" with absolutely no cracks, chips, flakes, scratches, restorations, or other issues! B8

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1960's Dobro 23 Jewel Calendar Watch. Nice vintage watch from the third quarter of the 20th century as clean as they come with no wear to gold plating, works, keeps good time, waterproof, uncommon watch from a company that made very good watches just didn't make that many. This would have been considered a Men's watch in it's time, but not every woman wants a tiny watch these days. 1 7/16" wide with winder.

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1960's Gerhard Meisel(1903-1979) Stahnsdorf German Studio pottery vase. 7" tall with no cracks, chips, restorations, or crazing. Fantastic glaze with subtle blue dots towards the top. Gerhard MEISEL 1903 born in Opole, Poland 1921-1923 School of Arts and Crafts, Breslau 1926-1928 traineeship at Kieler Kunstkeramik 1928-1931 studied at the Art Academy in Dresden (sculpture with Karl Albiker) 1931-1933 artistic director in Schramberg majolica factory 1933-1936 Carstens-Uffrecht KG (Neuhaldensleben) 1949-1968 own workshop in Stahnsdorf Died in 1979 in Stahnsdorf, Germany TW234

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1960's Hawaiian Dreams Sunbathing Woman Ashtray Bathing Beauty Lot of Two. Selling both from the mid 20th century. No cracks, chips, or restorations, they both have some crazing. Largest is 8.5" x 6.25" tall. tw145

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1960's JoAnn Dalsheim Huge Starfish Brooch 3.5" wide with no damage or<br>significant wear. I believe it's silverplated, to me it looks great just like<br>this with it's natural patina.

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1960's Kosta Boda Zoo Animals Glass Lion, elephant, and dog. Elephant is 6.5" long x 5.5", Dog is 7" long x 5.25" tall, Lion is 4" tall x 5.5" long no cracks, chips, or dings. Selling all three shown. Tw235

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1960's Matchbox 2 Muir-Hill Dumper with box. Very clean box, mint car with no paint loss, front and back are perfect the photographer forgot to picture them on a ton of cars and I don't have time to take more pics.

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1960's Matchbox King Size K-7 Refuse Truck. 4.5" long truck is near mint with no detectable wear. Box is rough as shown.

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1960's Matchbox Models of Yesteryear Y-14 1911 Maxwell Roadster in box. No touch ups, clean box, tiny dings on each of the pieces that stick out in the back, I guess they'd be steps, apparently missing license plate.

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1960's Matchbox Models of Yesteryear Y-2 London Bus. Never played with near mint to mint with some wear to box, no touch ups.

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1960's Matchbox Models of Yesteryear y-5 1929 4.5 Litre (5) Bentley, strong clean box with tiny tear by flap. One tiny pinhead sized nick to paint on rear passenger side fender. No other paint wear or touchups.

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1960's Matchbox Models of Yesteryear Y-6 1913 Cadillac. Clean box, mint car with no wear or touchups.

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1960's Matchbox Models of Yesteryear Y-6 1926 Type 35 Bugatti. Tear on reverse side of box, no wear or touchups to car.

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1960's Matchbox Models of Yesteryear Y-8 1914 Stutz Sealed on card. Mint sealed on card with some wear to box.

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1960's Matchbox Y-12 Models of Yesteryear Horse Bus Lipton's Tea. Clean box with mint toy with no wear or touchups. One spot on top rear of toy where they got an extra bit of white paint on it, I've removed these spots before but I won't mess with it as I don't have time for more photos, but that's what it is.

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1960's Matchbox Y-15 Models of Yesteryear 1929 Bentley. This is in the wrong box as shown, box is rough, a few pinpoint sized paint nicks to car, no touchups.

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1960's Matchbox Y-8 Models of Yesteryear 1914 Sunbeam Motor Cycle in Box. Mint toy with no wear or touchups, near mint box.

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1960's Mazzega Murano Lamp Dichroic Paperweight Base. Great piece, it needs<br>wiring but since I do a high percentage of international shipping and the future<br>owner may want to put a different fixture on it I am not messing with it. It's<br>easy, one trip to the hardware store and 10 minutes and the possibilities are<br>endless...almost. No cracks, chips, dings, or restorations, a few scratches only<br>visible upon very close examination. 8.5" tall, 3.5" tall without fixture 6 3/8"<br>wide with handle. very heavy.<br>TW141

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1960's MCM Frankoma Aqua Orbit Gracetone collection. Selling the rare and<br>desirable collection shown, six pieces total counting the lid to the candy dish.<br>12 oz v8 can shown for scale. Tallest is the brandy snifter formed vase at 9"<br>tall x 5 7/8" wide. No cracks, chips, crazing, or restorations to any pieces,<br>One factory glaze pop shown in the interior of the deep compote to the right,<br>it's shown in the fifth pic. The lid to candy dish has some worn gold paint,<br>it's not covering a restorations I'm sure, I can remove the rest before shipping<br>upon request.<br><br>Gracetone Pottery was produced from 1959 to 1967. John Frank purchased a<br>Muskogee, Oklahoma company named Synar Ceramics in September, 1957, eventually<br>naming it Gracetone in December. He designed a new line of dinnerware named<br>Orbit, the name based on a circular motif. Many of the original Synar pieces<br>continued production. Unfortunately the company did not meet expectations, so<br>Frank closed it in May, 1962.<br><br>Frank's associate J.C. Taylor purchased the company, along with its assets, to<br>continue production with a reduced number of items. He eventually decided to<br>stop production entirely in February, 1967.

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1960's Murano JFK Paperweight John F Kennedy President. Nice large and uncommon<br>paperweight. 3.25" tall x 3.75" wide with no cracks, chips, dings, or scratches.<br>Minimal expected shelf wear on base.<br>pwdrawer

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Spilla moderna di metà secolo con sfera degli anni '60 Otto Robert Bade larga 3 pollici senza piegature o ammaccature.Otto R. BadeUn argentiere autodidatta, le cui radici provengono da una fattoria nel Nebraska. Otto, che aveva visitato suo nonno, in visita all'Esposizione Universale del 1940, si rese conto che non voleva intraprendere la vita di agricoltore così, nel 1941, andò a New York per scoprire il suo futuro, rispose ad un solo annuncio di lavoro e si presentò al colloquio. Frank (Francisco) Rebajes ha spiegato che stava cercando qualcuno che prendesse le opere d'arte del suo studio e aumentasse la capacità di produzione. Ha detto a Otto "Guarda cosa puoi fare" e ha consegnato a Otto uno dei suoi pezzi preferiti, "Ubangi Face". Alla fine della giornata Frank rimase stupito. Otto aveva creato alcune maschere e un processo per produrre in serie l'arte di Frank. Otto realizzò in un solo giorno, cento spille perfette scolpite con il volto di Ubangi. Frank capì allora che il suo sogno era quello di fornire arte indossabile ai le messe sarebbero state ora realizzate.Frank Rebajes era considerato il primo maestro nell'arte della gioielleria e dell'artigianato in rame e Otto era il caposquadra che assicurava che i disegni fossero prodotti ad arte e magistralmente. Ancora più importante, Frank e Otto godevano di un'amicizia che sarebbe durata tutta la vita.Rebajes Wearable Art è stato uno dei principali produttori di gioielli negli anni '40 e '50 con centinaia di negozi di punta in tutta la nazione che vendevano la linea. Otto, con decenni di esperienza come argentiere, lasciò l'azienda e iniziò la propria attività "Orb Originals" nel 1958 con molto successo. Frank vendette il nome e l'attività Rebajes a Otto nel 1960 e si trasferì in Spagna dove tornò al lavoro in un piccolo studio e alla ricerca scientifica sul "Möbius".Con la crescita dell'attività di Otto, aveva aggiunto l'officina, i macchinari e disegni di cataloghi di Rebajes. Gli affari continuarono a crescere e ad andare abbastanza bene, fino al 1981, quando Otto fu trattenuto e colpito con una pistola, lasciandolo in condizioni critiche. Dopo un lungo recupero dalle ferite, Otto e sua moglie Dae si trasferirono a New Hope, Pennsylvania.Orb Silvermiths rimane ancora oggi un punto fermo per la comunità di New Hope, Pennsylvania. Otto, ormai novantenne, è ancora determinante nel garantire che il marchio Rebajes porti avanti le tradizioni e l'artigianato che hanno reso il nome Rebajes così famoso e ricercato per oltre ottant'anni.

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1960's Rosenthal Netter Bitossi Candlesticks in yellow. Great pair of super cool<br>functional collectible ceramic art candlesticks. 6 3/8" tall with no cracks,<br>chips, or restorations, a few glaze flakes on top; rim.<br>isshelf

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1960's Scandinavian Flora Danica Brooch by Eggert. Very fine piece of sculptural jewelry. No damage or issues. 2.25" wide.

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1960's Tribal India Coral and Hemp Beaded Multistrand Necklace with 1963 Coin<br>Clasp. Incredible piece with untold hours of work 27" long

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1960‘s Vintage Navajo sterling silver squash blossom necklace w/ nice turquoise. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. Circa third quarter of the 20th century. 27" long. Great looking turquoise from unknown mine. Likely Natural American turquoise.

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1960‘s Vintage Navajo sterling silversquash blossom necklace w/nice turquoise. Tested and guaranteed solid sterling silver with weight and measurements in pictures. No issues. Circa third quarter of the 20th century. 25" long, Original 1960‘s price on back. 179 grams. 10-25

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1960‘s Vogt Sterling/10k hand engraved horse hair barrette. Fully functional, appears unused. Solid 10k gold horse on solid sterling back. This has been put up for 60 years or so untouched, I left it in that condition but it will clean up nicely with ease. I could polish before shipping upon request. anderas

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1960's Zuni Sterling, turquoise, and shell inlay Ghan Dancer belt buckle. Fully functional with some expected wear, weight and measurements in pics.

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1961 Bob Click "The Flying Dutchman" Mid Century Lithograph 7/10 Frame is 14.75" x 17.75", sight is 8.5" x 10.25".  No issues to print, clean matting with very minor blemishes,a few nicks on frame.

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1963 Signed First Edition History of Travis County and Austin Texas. Selling the<br>rare signed book. 6 3/8" x 9.25" 388 pages chock full of info, minor exterior<br>wear, clean interior. I would bet my life this signature is Authentic because of<br>where I got it from. This estate was full of books that were given by the<br>Authors to members of this family.<br><br>These books and many more I'll be listing shortly are from the estate of Homer<br>Garrison III, the son of Homer Garrison Jr.<br><br>GARRISON, HOMER, JR. (1901-1968). Homer Garrison, Jr., Texas Ranger chief and<br>director of the Texas Department of Public Safety, son of Homer and Mattie<br>(Milam) Garrison, was born in Kickapoo, Anderson County, Texas, on July 21,<br>1901, the eldest of nine children. After graduation from Lufkin High School he<br>went to work in the office of his father, who was district clerk in Angelina<br>County. Garrison received his first experience as a law officer at nineteen,<br>when was appointed a deputy sheriff of Angelina County. In 1929 he became a<br>state license and weight inspector for the Texas Highway Department, and he<br>joined the Texas Highway Patrol when it was organized in 1930.<br><br>When the Department of Public Safety was founded in August 1935 Garrison became<br>the first assistant director. Among his initial duties was the task of<br>developing a training program for DPS officers. At the request of the governor<br>of New Mexico, he was sent to that state to help organize the New Mexico State<br>Police. During World War II he was offered an appointment by Gen. Douglas<br>MacArthur to reorganize and supervise the Japanese national police system for<br>the War Department, but he declined in deference to his duties as director of<br>the DPS and chief of the Texas Rangers.<br><br>Among the many honors bestowed upon him during the nearly thirty years he served<br>as the head of the state law-enforcement agency was the presentation of the<br>sixth Paul Gray Hoffman Award, conferred annually by the Automotive Safety<br>Foundation for distinguished service in highway safety. In 1963 Governor John<br>Connally appointed Garrison director of civil defense and disaster relief for<br>the state of Texas and chairman of the State Defense Council. The same year the<br>governor also named him director of the Governor's Highway Safety Commission. In<br>May 1966 he was elected chairman of the resolutions committee and a member of<br>the steering committee of the Southern Region Highway Policy Committee of the<br>Council of State Governments; in January 1967 he was named a member of the<br>National Motor Vehicle Safety Advisory Council.<br><br>Colonel Garrison became director of the Department of Public Safety and chief of<br>the Texas Rangers in 1938. Under his leadership numerous major programs were<br>developed, and the organization grew to a total of some 3,400 employees. The<br>programs included crime control, police traffic supervision, driver licensing,<br>vehicle inspection, safety responsibility, accident records, safety education,<br>defense and disaster service, and police training.<br><br>Garrison married Mary Nell Kilgo on June 1, 1939, and they had one son. Garrison<br>died on May 7, 1968, and was buried in the State Cemetery, Austin. A Texas<br>Ranger museum at Fort Fisher was named for him.<br><br>BIBLIOGRAPHY: Ben Procter, "The Texas Rangers: An Overview," in The Texas<br>Heritage, ed. Ben Procter and Archie P. McDonald (St. Louis: Forum, 1980).<br>Vertical Files, Barker Texas History Center, University of Texas at Austin.<br>Bill Carter<br><br>"GARRISON, HOMER JR." The Handbook of Texas Online. [Accessed Wed Aug 7 11:36:57<br>US/Central 2002].<br><br><br>Mary Starr Barkley<br><br>was a life-long resident of Austin whose penchant for local history led her to<br>write numerous colorful books, articles, and essays about her hometown and<br>Central Texas. Known to friends and colleagues as "Mamie", she liked to refer to<br>herself as a "housewife-historian".<br><br>Barkley's roots in Austin extended back four generations. She was born in 1907<br>to James Patrick Starr and Mary Ellen Dolan Starr (Nellie), devout Irish<br>Catholics who belonged to St. Mary's Parish in Austin. Mary attended St. Mary's<br>Cathedral School until her graduation in 1923. Her close ties to the Catholic<br>Church greatly influenced both her historical research and her charitable<br>activities throughout the rest of her life.<br><br>Mary attended the University of Texas for two years and then went to work for<br>Austin National Bank where she met her future husband, Fred C. Barkley. The two<br>were married in 1930. During World War II, when Fred was in service, Mary began<br>to write fiction and essays. One of her favorite personal anecdotes concerns the<br>time in 1946 that she sent out three articles and received a check for each one.<br>"After that", she said, "I could never quit writing." She regularly sold<br>stories, essays and articles to magazines such as The Cattleman, Farm and Ranch,<br>Catholic Digest, the Houston Chronicle Sunday Magazine, and the Atlanta Journal<br>Magazine .<br><br>Mary Starr Barkley wrote predominantly about Austin and the surrounding<br>communities. She liked to set out at about nine o'clock in the morning one day<br>each week and drive to communities within a fifty mile radius of Austin. She<br>conducted a substantial amount of her research through oral interviews and<br>enjoyed talking to "old timers" who could tell her all about the history of<br>their communities. Barkley's method of history writing was to weave human<br>interest stories into traditional date-oriented narratives; she called this<br>style her "trademark". Barkley also carried a camera with her during her travels<br>and took many of the pictures that accompanied her articles.<br><br>In addition to her work as an amateur historian, Barkley was involved in several<br>organizations, many of which were affiliated with the Catholic Church. In 1950,<br>she helped organize the Seton Hospital Auxiliary to which she ultimately gave<br>over 17,000 hours of her time during a 30-year period. In 1950, Barkley also<br>helped organize the Friends of the Adoration Convent, a group that served as<br>both the auxiliary and the fundraising arm of the Austin Adoration Convent. In<br>her later years, she served as the Chair of the Travis County Historical Survey<br>Committee, an organization dedicated to the preservation of the historical<br>buildings within Travis County.<br><br>Barkley was the author of several published works including: Fifty Years of the<br>Seton Hospital (1952), O ne Hundred Years: The History of St. Mary's Cathedral<br>(1952), The History of Travis County and Austin, 1839-1899 (1963), A History of<br>Central Texas (1970), St. Mary's Church (now a Cathedral) (1972), The History of<br>St. Mary's Cathedral, 1874-1974 (1974), and numerous essays and articles<br>published in local and national periodicals. She also wrote a book on the<br>history of the Austin National Bank, and tried her hand at fiction. In addition<br>to her activities as a writer, Barkley conducted extensive genealogical research<br>about her own family and composed an unpublished family history, "A Four Staff<br>Family".<br><br>Principle organizations Barkley belonged to include: Seton Hospital Auxiliary,<br>the Travis County Historical Survey Committee, the Adoration Convent, Austin<br>National Bank, and St. Mary's Cathedral Parish.<br><br>Mary Starr Barkley succumbed to cancer in 1981.

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1964 Harding Black Texas Studio Art pottery bowl 8.75" wide x 3" deep with no<br>damage or restorations. tw105<br><br>Harding Black San Antonio (1912 - 2004)<br><br>A ceramist, sculptor, painter, bricklayer, teacher, Black graduated from<br>Brackenridge High School and attended San Antonio Junior College (1929-30). In<br>1933, Black was taught by Rudolph Staffel to make wheel-thrown pottery and also<br>began to teach children's ceramic classes at the Witte. Black directed ceramic<br>installation in a San Antonio reconstruction project sponsored by the National<br>Youth Administration and the Works Progress Administration art program. In 1955<br>he retired from teaching and devoted his time to ceramics. Black became a<br>well-known ceramist from his research, innovations, and writings in the field.<br>Black's collection and archive is housed at Baylor University. Harding Black's<br>work with clay serves an an important bridge between early Texas and mid-century<br>pottery.

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1964 Santa Rosa Roundup and Livestock Exposition Ribbons in Shadowbox Frame<br>measures 20.5" x 22". No issues.

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1967 Hawaiian Black Coral Bust by Frank Schirman. 4" tall x 4" deep with no detectable wear. B50

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1967 Stangl White Grape Pate sur Pate Star shaped Powder dish with Lid Candy Box. 5 1/8" wide with no cracks, chips, or restorations. Produced for only one year, less than a year in 1967. TW75

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1968 Sheet Metal Sculpture of Centaur Signed Neto. 16.5" talx 14.5" x 6.5" with base. Incredible piece of art, steel with wood base. I'd be interested in any possible info on the artist. Guaranteed 51 years old.

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1969 Lubbock TX Wrestling medal. Buying the medal shown with a penny for scale.

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1970 Huge Myra Tucson Zuni high grade turquoise sterling silver sunface bolo tie.   Tested and guaranteed solid sterling silver. Weight and measurements in pictures. Great bolo, 39" long with no issues. Weight shown is the entire bolo.

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1970 Salt Glazed Studio Pottery Vase. Unsure of artist but obviously a skilled potter. 5.25" tall with no damage or wear. tw206

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1970‘s Alvina Quam Zuni 14k gold belt buckle carved pyrite turquoise cluster. Tested and guaranteed solid 14k gold. Steel bar to catch the belt. Weight and measurements in pictures, circa third quarter of the 20th century. Fits a 1.5" belt. I was told by what I feel is a reputable source that when Alvina Quam first started she used her mothers hallmark before she made her own stamp. Known to sign her work "Alvina Q. Zuni", Alvina Quam began to make jewelry in the 1970's.  The granddaughter of Doris Ondelacy and Wayne Ondelacy; daughter of Alice Quam and Duane Quam, Alvina was taught to make jewelry by her mother.  She is listed in Gregory Schaaf's Jewelry III:M-Z book. Alice Quam (1929-2003), Zuni Pueblo JewelerZuni Pueblo artist Alice Quam was active 1930s - 2003. She was known for cluster jewelry. For over 50 years, collectors looking for the best cluster jewelry have beaten a path to the home of Alice Quam. Alice selects only the best natural turquoise and coral. Her stones are shaped to perfection. Alice‘s settings are clean and precise, often with twist wire and silver balls.She was the daughter of Doris and Wayne Ondelacy; wife of Duane Quam; mother of Alvina Quam, Lorraine Waatsa, Shirley Quam, Wayne Quam and Elgin Quam.

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1970‘s Alvina Quam Zuni 14k gold bolo tie carved pyrite turquoise cluster. Tested and guaranteed solid 14k gold. Steel clip on the back. 40" long with weight and measurements in pictures, circa third quarter of the 20th century.  I was told by what I feel is a reputable source that when Alvina Quam first started she used her mothers hallmark before she made her own stamp. Known to sign her work "Alvina Q. Zuni", Alvina Quam began to make jewelry in the 1970's.  The granddaughter of Doris Ondelacy and Wayne Ondelacy; daughter of Alice Quam and Duane Quam, Alvina was taught to make jewelry by her mother.  She is listed in Gregory Schaaf's Jewelry III:M-Z book.The stones are quality American turquoise which would of course be sold by the carat even if they were not carved by Alice Quam or possibly her daughter working under her. The stones are worth more than gold, the leather and clip on the back can‘t be that heavy.  This is Historic Zuni jewelry that would improve the quality of any collection/wardrobe.Alice Quam (1929-2003), Zuni Pueblo JewelerZuni Pueblo artist Alice Quam was active 1930s - 2003. She was known for cluster jewelry. For over 50 years, collectors looking for the best cluster jewelry have beaten a path to the home of Alice Quam. Alice selects only the best natural turquoise and coral. Her stones are shaped to perfection. Alice‘s settings are clean and precise, often with twist wire and silver balls.She was the daughter of Doris and Wayne Ondelacy; wife of Duane Quam; mother of Alvina Quam, Lorraine Waatsa, Shirley Quam, Wayne Quam and Elgin Quam.

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1970's Austin Texas watercolor "the Preacher's car" By Robert William"Windy" Winn. 12" x 16" sight 19" x 23" framed. Windy Winn was one of the co-founders of the Waterloo Watercolor Group in 1977. Painting is clean with no issues. Some wear to frame. It was local personality Cactus Pryor who introduced Wings wife Babs to his high school buddy, Windy. Jake Pickle and Windy were partners in the 1950s, handling political and advertising campaigns. Babs and Windy had a lot of fun together. They were original "founding" members of Austin Civic Theater (now the Zachary Scott Theater). They acted, danced, sang, directed and wrote plays, promoted the Austin Civic Theatre and organized the Laa Gloria Art Fiesta. He attended Austin High School in Austin, TX. In 1942, he enlisted in the US Navy and attended San Diego State university where he was editor of the Navy Base newspaper before being shipped out. When he returned, he worked briefly as a graphic artist for the Austin American Statesman newspaper and teamed with former US Rep Jake Pickle and Ed Eyers to form the advertising agency Eyers, Pickle and Winn in 1947.

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1970's Boxed Avon Collection Berry nice lip gloss, perfume pins, etc. Selling the collection shown, tallest box 2.5", the girl has some minor paint wear and marker on the back, the rest are like new, dent in strawberry box. TW120

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Photo measures 20" x 16", frame is 21" x 25". Don K Langson famous Texas Western<br>photographer from that era.

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1970‘s Edison Cummings Navajo sterling silver shadowbox bolo tie with turquoise. Marked and tested solid sterling silver Weight and measurements in pictures. Great bolo with no issues. 42" long. This is a very nice bolo, I should have cleaned it up just a tad but it was accidentally photographed before I could and time is everything for us.

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1970‘s Fred and Lolita Natachu Zuni sterling silver inlaid sunface bolo tie. Solid sterling silver slide (tested), slide and tips. Weight and measurements in pictures. Great bolo with no issues. 39" long. Signed by the Artists. Lolita is the daughter of Zuni silversmith Jacob Haloo. Her sisters, Dolly Banteah, Nancy Lacnsello, and Rolanda Haloo are also recognized Zuni inlay silversmiths.

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Ida Spence Oils on Board Listed Texas Artist Raccoons and Flowers. Both 5" x 7" panels. Larger frame is 11.75" x 9.75". No issues or damage Tw49

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1970's Japanese Studio Pottery Bizen Vessel by Takeshi Inoue. Purchased in the late 70's by my client from the artist in Japan. Vessel itself if 7" tall without box. Comes with original box, a few small dents in lid of box. No cracks, chips, or restorations. Some firing flaws, etc as shown and expected with this type of pottery. isshelf

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1970's Jugtown Pitcher Blue Decorated Salt Glazed stoneware pitcher. 7.5" tall<br>without damage or wear, dated 1978.<br>isshelf

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1970‘s KM Navajo sterling silver coral, turquoise belt buckle. Solid sterling silver with weight and measurements in pictures, some expected wear with no damage. All stones are very secure in their bezels and are not going anywhere. Marked as shown.

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1970's Lalique Nina Ricci Bath salts box. These bath salts were bought fifty years ago and never used. A half century old bath crystals ready for current use and a magnificent Lalique frosted crystal vanity box as a premium -what a premium! Rene Lalique frosted glass box with molded relief decoration of a pair of love doves on l the lid. 5.5" wide x 3.5" tall. Near microscopic chigger bite on the very inside rim on the lid shown top center of the 5th picture. No other damage or wear. isshelf

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1970's Licio Zanetti Murano Art Glass Ducks. Nice large almost life sized ducks<br>extremely heavy. I'm sure they are both signed but one had this label on the<br>base as most items in the estate did stating where they bough them and what they<br>paid for them. It has likely protected the base from scratches all these years.<br>I removed the corners just to show it wasn't chipped under the label. I felt<br>leaving it to help establish provenance was appropriate. They both measure 12.5"<br>x 13" long varying slightly as they were handmade about 50 years ago. Selling<br>both with no chips, cracks, or restorations, no scratches on top, some expected<br>shelf wear on base.<br><br>Founded in 1956, the Zanetti Vetreria Artistica by glassmaster Oscar Zanetti and<br>his son Licio. In 1989 master Licio Zanetti stepped down in favor of his son<br>Oscar (named after his grandfather), who had been working by his side since his<br>youth. Licio's work shows a predilection for naturalistic subjects is reflected<br>in a lively collection inspired by the flora and fauna of his beloved Venetian<br>Lagoon.<br><br>isshlf

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1970's Linda Genet Texas Studio Pottery vase Mid Century Modern. Great piece by Retired professional potter Linda Genet, a former student of Ishmael Soto that made a name for herself locally and this piece shows you why. 6.75" tall x 5.5" wide with no damage. tw227

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1970‘s Little Turtle Navajo sterling silver carved Kingman turquoise belt buckle. Solid sterling silver with weight and measurements in pictures, some expected wear with no damage. Fits up to a 2" belt. Signed by Artist.

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1970‘s Malachite smaller sterling silver Navajo squash blossom necklace. Tested and guaranteed solid sterling silver, weight and measurements in pictures. No significant issues. 20" long, unmarked, some typical bends to blossom ends.

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1970's Marcus Coochwykvia Hopi Overlay sterling necklace. 16" total length<br>including the 2.75" center pendants length. 15.9 grams total.<br><br>Marcus Coochwykvia<br><br>(Born circa 1952) A member of the Bear clan, this jeweler marks his jewelry with<br>both his initials and with a bear paw. Marcus Coochiwikvia's Hopi heritage is<br>easily revealed by this dedication to creating extraordinarily well designed<br>overlay work in both gold and silver.<br><br>Trained to make jewelry first by Glen Lucas, then Roy Talahaftewa and through<br>his association with Hopicrafts, Marcus has routinely won Indian market<br>competitions. Rightly, this metal artist is included in all books covering<br>American Indian jewelry.<br><br>All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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1970's Matilde Poulat Style Mexican Silver pendant and necklace 16" necklace 2.5" long pendant. 19.9 grams total marked and tested sterling.

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1970's Mayan Style Castlecliff Larry Vrba Blue Red Enamel Large Pendant. 3" tall with bail x 2.25" wide with no issues. Great piece of vintage costume jewelry.

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1970's MCM Copper enamel plaque. Very cool with no apparent signature, frame is plastic 7" total width. tw271

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1970's Merikay Mackenna Guilt Free Animal Trophy Lion Head Taxidermy 18" Listed<br>San Francisco Artist. The last picture shows what her 2005 version of the lion<br>head looked like. As you can see there was great care put into the older<br>version, her older pieces rarely come to the open market.<br><br>MacKenna has published several books, won numerous awards and her work is<br>represented in many public and private collections throughout America. She has<br>shown her work in several gallery exhibitions.

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Mitchell Sockyma Hopi overlay screw back earrings sterling. Solid sterling. Weight and measurements in pics. Mitchell Sockyma was born in Hopiland in 1942 and spent his childhood in the third Mesa village of Hotevilla. In 1973, he landed a job at the Hopi Crafts Shop, a workshop and studio new his home where his two older brothers were also silversmiths. Over the years, Mitchell has expanded his range of skills, including soldering 14k gold onto silver, which embellishes the traditional Hopi symbols he uses. As a member of the Corn Clan, his use of corn stalks is important, as is the Kokopelli, turtles, bear paws, and claws and wave designs. Unlike many other Hopi artists, he combines several of these design elements into one piece. He also incorporates brightly colored gemstones, natural turquoise, lapis and coral into the design. Considered one of the finest contemporary Hopi jewelers today, Mitchell has won numerous awards for his stunning pieces from the Northern Arizona Museum and Gallup, New Mexicos Annual Intertribal Ceremonial. He still resides with his family in Hopiland where he maintains a lifestyle in which art and beauty are intertwined with his Hopi religion and values in his everyday life. Marked or unmarked as shown in pics, weight and other measurements in pics. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures,<br>videos, or measurements until sold. If you look at pictures/description your<br>question should be answered. Thank you so much for your time and consideration!<br><br>All precious metals are tested and guaranteed. A Native American jewelry piece referred to as "silver" or "ingot" is guaranteed to be at least 90% silver. Bracelets are photographed on a 6" women‘s wrist.

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1970's Modernist Sterling/Rosewood Mexican Cross. Really great Marked 925 Mex and some other stuff. 5" tall, no damage.<br>isshelf

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1970's Murano Art Glass Bear. Purchased in Murano Italy in the late 1970's, I'm not sure if it was new us vintage at the time. 8" long x 5" tall with no cracks, chips, dings, or restorations. tw187

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1970's Nakai Navajo sterling chip inlay belt buckle with belt. High quality buckle and belt, both Navajo made. Belt fits from 37" to 42" waist with existing holes. All precious metals are tested and guaranteed, any Native American jewelry<br>referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin)<br>silver and possibly higher content. Anything marked is guaranteed to be what<br>it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings<br>photographed on the appropriate sized finger when possible. With bracelets if<br>the measurement is not given in the description then inside circumference is<br>shown where the metal meets the number on the the cloth tape measure.

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1970‘s Navajo sterling chip inlay peyotebird belt buckle. No issues. Weight and Measurements in pics. Marked or unmarked as shown in pics, weight and other measurements in pics. Older Native American jewelry is typically unmarked. If I call it Silver or Ingot I‘m guaranteeing it to be 90% or more silver. This isn‘t something I get confused about. Sorry but my jewelry is stored in a secure location and cannot be accessed for more pictures, videos, or measurements until sold. If you look at pictures/description your question should be answered. Thank you so much for your time and consideration.

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1970‘s Navajo sterling silver tube bead necklace with turquoise pendant 15" long. Tested and guaranteed solid sterling silver with weight and measurements in the pictures. No detectable issues. Any markings detected will be shown in the pictures. Unknown artist, likely Native American made from large collection of Native American jewelry purchased in the last quarter of the 20th century and never worn for the most part.

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1970‘s Navajo sterling silver tube bead necklace with turquoise stones 28" long. Tested and guaranteed solid sterling silver with weight and measurements in the pictures. No detectable issues. Any markings detected will be shown in the pictures. Unknown artist, likely Native American made from large collection of Native American jewelry purchased in the last quarter of the 20th century and never worn for the most part.

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1970‘s Navajo Vintage Sterling silver chip inlay sunface belt buckle turquoise. Tested and guaranteed solid sterling silver, fits a 1.5" wide belt. No issues, some expected wear. Circa 1970‘s. Weight and measurements in pictures. unmarked.

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1970's Peter Deneen Studio Pottery Ashtray. Really nice ashtray to use for whatever you want from the 70's or 80's. 5" wide x 2 1/8" tall. Peter Deneen began his lifelong journey with ceramics while studying pottery at Luther College in Decorah, Iowa. During this period he also began attending Marguerite Wildenhain’s Pond Farm School (located in northern California) in 1968. Peter went on to earn his M.A. from the University of Iowa in 1971. Inspired By Art & History During this time, Peter caught the inspirational fire of the Bauhaus movement of Walter Gropius in Post World War I Germany. The main thrust of the Bauhaus “was to create an environment which would nurture the bond between art, industry and trade through education; to insure the cooperation of industry and artists in the field of mass production.” ESTABLISHING DENEEN POTTERY In 1972, Peter and Mary Deneen established their first studio and showroom at Park Square Court in the Lowertown neighborhood of St. Paul. Here they began producing hand thrown functional and decorative pottery and dinnerware. “Form follows function,” was embedded within their work through the teachings from Marguerite Wildenhain, recalling the Bauhaus lessons she learned from Gerhard Marcks. It was during this time that Mary started to produce more commemorative items and ceramic figures, while launching a “Bear Essentials” line. White Picture corner top leftWhite Picture corner top rightWhite Picture corner bottom leftWhite Picture corner bottom rightEarly Days of Deneen Pottery 1974 PARK SQUARE COURT IN LOWERTOWN • “The Spin of a potter’s wheel brings prosperity, unfettered life-style.” This was the title of the article that ran in a local St. Paul publication around 1974. “Peter Deneen sits at his potter’s wheel, fingers fashioning burnt-cinnamon clay into pots and plates, goblets and candle-holders, tall, corked canisters and small spice bottles.” At this time, the Deneens wanted to open retail outlets similar to Pottery Barn, but make all of the products at their Lowertown studio. A favorite quote (of the current office) staff has Peter saying. “We’ll never be more than a handful of people. I’d never get larger than three stores,” says Peter.” “Don’t say ‘never,'” interjects Mary.” Wow, how the path has deviated from the plans made in 1974! tw129

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1970's Peter Deneen Studio Pottery Vase. 7.75" x 5.25" with no damage or wear of<br>any kind.<br><br>Peter Deneen began his lifelong journey with ceramics while studying pottery at<br>Luther College in Decorah, Iowa. During this period he also began attending<br>Marguerite Wildenhain’s Pond Farm School (located in northern California) in<br>1968. Peter went on to earn his M.A. from the University of Iowa in 1971.<br><br>Inspired By Art & History<br>During this time, Peter caught the inspirational fire of the Bauhaus movement of<br>Walter Gropius in Post World War I Germany. The main thrust of the Bauhaus “was<br>to create an environment which would nurture the bond between art, industry and<br>trade through education; to insure the cooperation of industry and artists in<br>the field of mass production.”<br><br>ESTABLISHING DENEEN POTTERY<br><br>In 1972, Peter and Mary Deneen established their first studio and showroom at<br>Park Square Court in the Lowertown neighborhood of St. Paul. Here they began<br>producing hand thrown functional and decorative pottery and dinnerware.<br><br>“Form follows function,” was embedded within their work through the teachings<br>from Marguerite Wildenhain, recalling the Bauhaus lessons she learned from<br>Gerhard Marcks. It was during this time that Mary started to produce more<br>commemorative items and ceramic figures, while launching a “Bear Essentials”<br>line.<br><br>White Picture corner top leftWhite Picture corner top rightWhite Picture corner<br>bottom leftWhite Picture corner bottom rightEarly Days of Deneen Pottery<br>1974<br>PARK SQUARE COURT IN LOWERTOWN<br>•<br>“The Spin of a potter’s wheel brings prosperity, unfettered life-style.”<br>This was the title of the article that ran in a local St. Paul publication<br>around 1974. “Peter Deneen sits at his potter’s wheel, fingers fashioning<br>burnt-cinnamon clay into pots and plates, goblets and candle-holders, tall,<br>corked canisters and small spice bottles.”<br><br>At this time, the Deneens wanted to open retail outlets similar to Pottery Barn,<br>but make all of the products at their Lowertown studio. A favorite quote (of the<br>current office) staff has Peter saying. “We’ll never be more than a handful of<br>people. I’d never get larger than three stores,” says Peter.” “Don’t say<br>‘never,'” interjects Mary.” Wow, how the path has deviated from the plans made<br>in 1974!<br>isshelf

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1970‘s Roy Vandever Navajo sterling chip inlay Teepee Peyote Bird belt buckle. Very clean and possibly unworn, fully functional. Solid sterling silver with eight and measurements in pictures. Marked only with Roy‘s RV hallmark which is typical of him and other Artists of this era. Roy Vandever, Diné, Navajo Nation, active ca 1950s-2009: silver stampwork, shadowbox, chip inlay jewelry. Roy Vandever was the son of Walter Vandever and Emma Vandever; uncle of Esther Vandever Wood; husband of Donna Vandever; father of Cassandra Xalladitto, Cindy Howe, Verna Kee, Sheila Vandever, Sherwood Vandever, and Jerome Vandever.

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1970‘s Sterling enamel Aztec Warrior hand hammered belt buckle. Given as a gift in 1979 with gift message on back. No other markings. Solid sterling silver with weight and measurements in pics. I believe this was made by an American studio silversmith. Fully functional with some expected wear, good condition with no significant issues.

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1970‘s T Sterling silver jasper bolo tie with cool cord. Solid sterling silver slide and tips. Weight and measurements in pics. 35" long. Expected wear with no apparent damage. Weight shown is just the entire bolo, if there is a tray pictured it will be tared out of course. Marked as shown, unidentified.

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1970's Teagues North Carolina Pottery Jar. 2.5" tall without damage or wear. isshelf

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