1936 Texas Centennial souvenir Shoe collection. Selling the three with no damage. longest 3.5" kitshelf

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1936 Texas Centennial Universal Pottery Pitchers and Charger. Amazing to find three of these pieces together so well preserved. No chips, cracks restorations, or other detectable issues. Charger is 12 5/8" diagonal. Selling the pieces shown, both size pitchers with lids and charger. isshelf

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1936 Wyoming Peace officers Association and Colorado Sheriff's Summer convention rodeo medal. Extremely rare multi category western/wild west police collectible. 5" long x 1 7/8" wide in very clean condition with a few wrinkles from storage. I don't know if this was a police rodeo or a boring convention and don't have time to find out. I'm assuming it was a wild experience.

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1937 Coronation George VI and Queen Elizabeth Wood Sewing Needle Case Trinket<br>Box<br>left facing conjoined busts of King George VI and Queen Elizabeth wearing robes<br>of state. 2.25" tall x 1 7/8" wide, rare. Old stable crack from natural wood<br>shrinkage.

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1937 Texas Shotput/Discus TJCC State Meet sterling medals. No issues, weight and measurements in pics. -anderas

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1939/1946 Pisgah Forest Art pottery Vessels. Selling the two pieces of NC art<br>pottery with no damage or restorations, both with intentionally crazed glazes.<br>Tallest 7.25".<br>isshelf

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1940's "Hand Made" Native American sterling High grade turquoise earrings. Nice old earrings, formerly screw backs made into pierced earrings. Possibly "Garden of the Gods" trading post.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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1940's 14k Gold and Angel Skin Coral Earrings Hand Carved. Great pair of earring. Solid 14k gold tested and marked and hand carved natural coral. They measure about 8mm deep by 15mm wide. They are missing the backs but have no other issues.

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1940's 17" Los Castillo Sterling art deco centipede necklace 17" long when laid flat, 1 3/16" wide, due to it's width it won't fit like a thin 17" necklace would of course. No issues, 91.7 grams.Los Castillo Jewelry - History<br>Antonio Castillo and his brothers Jorge, Miguel, and Justo began Los Castillo in<br>1939. They had all apprenticed in William Spratling’s taller before starting<br>their own business in Taxco, Mexico. Antonio Castillo rose to the level of<br>master silversmith during his time working with Spratling.<br><br>The Los Castillo workshop trained and employed many skilled silversmiths over<br>its decades in the business, including the Castillo brothers’ cousin Salvador<br>Teran, Sigi Pineda, Antonio Pineda, and Antonio Castillo’s wife, Margot van<br>Voorhies Carr. All these artists went on to open their own successful workshops,<br>including van Voorhies Carr who founded Margot de Taxco after she and Antonio<br>Castillo divorced.<br><br>Los Castillo is known for its quality silver wares as well as mixed metals that<br>incorporated copper and/or brass with sterling silver. Other decorative home<br>accessories can be found with silver plating and inlaid stone embellishments.<br><br>Chato (Jorge) Castillo was one of the Castillo brothers who worked in the 1930s<br>for William Spratling. He is known for his technical expertise and his design<br>talent. He developed the techniques for married metals, feathers with silver,<br>Aztec mosaic or stone inlay, concha or abalone inlay,...(Mexican Silver: Modern<br>Hand-wrought Jewelry & Metalwork by Morrill and Berk (Schiffer: 2007, 4th<br>Edition), p. 86.

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1940's 50's San Francisco California Tourist Booklets Lassen Volcanic National<br>Park Gray Line. Selling the stuff shown, The Lassen booklet is the oldest and<br>has some stains and foxing, still intact. Hotel greeters guide is amazing and<br>full of cool photos and ads.<br>TW260

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1940's Airplane Motor Oil Sign Texas Pacific Aero Motor Lubrication Oil Tin<br>Advertising sign. Great sign from the second quarter of the 20th century in<br>great displayable condition with minimal wear. 16" x 32"<br><br>Established in 1888, Texas Pacific Coal & Oil Company was likely the largest<br>bituminous coal mine in Texas for over 30 years (Yes Virginia, there are coal<br>mines in Texas.) The company established the historic company owned mining town<br>of Thurber. However, Discovery of West Texas oil in the 1920's resulted in the<br>decline of coal. Texas Pacific shut down the mine moved its headquarters to Fort<br>Worth in the 1930s. Thurber is now not much more than a landmark ghost town on<br>Interstate Hwy 20.But the history continued. In 1963 Joseph E. Seagram and Sons,<br>Inc. acquired Texas Pacific Oil Company company for $277 million. In April 1980,<br>Seagrams sold the Texas Pacific Oil Company to the Sun Oil Company (SUN) for<br>$2.3 billion. In 2012 natural gas pipeline company Energy Transfer Partners<br>(ETP) acquired Sunoco (SUN) in a deal valued at about $5.3 billion.

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1940's Art Deco Chinese Silver Mounted Rose Quartz Choker Necklace. A really<br>great necklace with no issues. Amazing central Gilt silver mounted Carved Rose<br>quartz pendant with a carved rose quartz and crystal choker necklace. This is a<br>period piece from the second quarter of the 20th century that was likely never<br>worn as this lady had a ton of jewelry and they all appeared to be souvenirs<br>from her travels in the mid 20th century. 16" long 1.5" wide pendant, 94.6<br>grams. The silver is signed on the reverse side.

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1940's Art deco Mexican Sterling/amethyst brooch 2.5" x 1.5" 20 grams.

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1940's Art Deco Perfume Boxes only. Selling the two boxes with no perfume,<br>tallest 4 3/8".<br>tw254

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1940's Autographed Chingwah Lee Photo postcards and Evening in Chinatown San<br>Francisco Bus ticket and Gray Line Flyer. All found together from the same<br>estate in an envelope. A memory of their 1940's trip to San Francisco. These<br>people went everywhere and saved everything. These are authentic signatures<br>guaranteed on bost real photo postcards.<br>tw260

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1940's Blue Ridge China Hand Painted Porcelain Southern Potteries 12" Snack Tray Rose Pattern. No cracks, chips, crazing, or restorations. Scarce piece in scarce pattern.

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1940's Cambridge Stem Roemer Crystal. 7 9/16" tall x 2 1/8" wide at rim x 4.75"<br>stem height without base or bowl. No cracks, no scratches, cloudiness, chips,<br>nicks, or restorations. Just pulled from a long time collection, last time it<br>was on the market was the 1980's.

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1940's Cambridge Crown Tuscan Candlelight Candy Dish Gold Encrusted Measures 11"<br>tall x 5.25" wide with handles. No cracks or chips, minimal gold wear to edges<br>of handles and very tip of lid.

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1940's Cambridge s Cobalt Blue Compote Pair 8.25" x 6 5/8" selling both with no cracks, chips, scratches, or cloudiness.

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1940's Caterpillar tractor watch fobs. Selling both fobs shown for one price.

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1940's Chinese Coral/Gilt Silver filigree brooch. 2.5" wide natural gem grade coral cabochons set in high content silver plated in gold. No damage.

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1940‘s Coro Craft Mexican sterling large peacock pin, weight and measurements in pics with no issues. anderas

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1940's Danecraft Sterling Art Deco Brooch and 2 Screw back Earrings. Selling the lot with no issues. brooch is 1 5/8" wide. All guaranteed circa mid 20th century.

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Unsigned but distinctive Elzac pin measures approx 1 7/8" x 2.75" inches. This unique 1940s ethnic mask brooch has a green ceramic face and stylized green lucite turban. It reflects the history of the time in that rhinestones and metals were scarce during WWII, so many jewelry designers became more creative with their use of plastics and other non-traditional materials. Elzac was one of the more innovative designers of the 1940s. Clasp holds well and works smoothly. Very good condition.

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1940's Eskimo Doll Carved Wood Fur Coat glass Beads hair pants leather moccasins 9" all hand made. Hand carved. I believe the whole body is wood. Very good quality old doll. I'll include the stand

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1940's Fiesta Ivory Demitasse Cup and Saucer (Multiple Available). Selling one<br>cup and saucer with multiple available by changing quantity. 5 1/8" saucer x<br>2.5" tall cup. Small coffee/espresso sized cups. All with no cracks, chips,<br>scratches, glaze skips, crazing, stains, or other issues.<br>tw254

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1940's Fiesta Turquoise Ashtray. No cracks, chips, crazing, or glaze wear, very<br>clean.<br>5 7/16" wide.<br>TW169

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1940's Guido Cacciapuoti Italian Porcelain Artist (1892-1953) Art Deco Gemini<br>Twin Babies Figure 6.5" very shallow slither chip on bottom left corner by mark<br>barely worth mentioning, no other cracks, chips, restorations, or other issues.<br><br>Guido Cacciapuoti was an Italian sculptor who was born in 1892. Guido<br>Cacciapuoti's work has been offered at auction multiple times, with realized<br>prices ranging from $398 USD to $2,638 USD, depending on the size and medium of<br>the artwork. Since 2011 the record price for this artist at auction is $2,638<br>USD for La marche des éléphants, sold at Aguttes, Neuilly in 2011. The artist<br>died in 1953.

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1940's Hand Painted Heavy Gold Porcelaine de Paris Large trophy vase 15 3/8"<br>tall x 8.75" wide. No cracks, chips, restorations, or wear to very thick real<br>gold Gilding. Small scratch below artists signature.

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1940's Heisey Orchid Etching on Lariat blank Fan vases pair. Selling both, this pattern was made from 1940-1943. No cracks, chips, restorations, hard water, or scratches. 7" tall x 6.25" wide at rim. TW225

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1940‘s High grade spiderweb turquoise Native American sterling screw back earrings. Second quarter of the 20th century with no issues. Weight and measurements in pics. Solid sterling unmarked. 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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1940's Hobe Sterling Modernist brooch with flowers 1 13/16" wide with no damage<br>13.9 grams.<br><br>Hobé Cie was founded in 1887 by goldsmith Jacques Hobé, but when costume-jewelry<br>collectors think of Hobé, they picture the tasselled and beaded necklaces made<br>by Jacques’ son, William, who established an American offshoot of the company in<br>1927. That put Hobé at the beginning of the American costume-jewelry boom<br>between the two world wars.<br><br>In fact, some scholars believe that Hobé actually had a hand in the phrase<br>“costume jewelry” itself. After the younger Hobé landed in New York, but before<br>he started his company, one of the his first assignments was to make costumes<br>and jewelry for the "Ziegfeld Follies." According to some historians, Florenz<br>Ziegfeld described the jewelry that accompanied Hobé’s costumes as costume<br>jewelry.<br><br>Hobé’s showbiz origins served the company well. By the 1940s and ’50s, Hollywood<br>stars such as Bette Davis and Ava Gardner were wearing Hobé. Especially prized<br>today are the floral pins of that era, which featured tight clusters of vermeil<br>petals. Earlier Hobé pieces that remain popular with collectors include<br>filigreed bracelets and pins, some of which featured Victorian-style portraits<br>or Japanese netsuke-like figures as focal points.

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1940's Houston Texas Old Plantation Strawberry Preserves staved wood buckets.<br>Nice old buckets about 70-80 years old with clean advertising. Largest is 5.5"<br>without handle x 6.75" wide. Selling all three.<br>midrmhouse

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1940's James Kent 4002 Chintz Lot of Trinkets and Sugar and Creamer. Selling the whole lot. Creamer is 4.5" wide, Little dishes are 3.5" wide. No cracks, chips, or restorations, expected crazing on earthenware. B32

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1940's Japanese 950 silver gold overlay perfume bottle 2 3/8" tall 20.9 grams with no issues.

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1940's Japanese Hand Engraved 950 Silver case 4.25" x 3" slight dents and wear, overall clean. 143.8 grams.

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1940's Japanese Hand Engraved 950 Silver case 4.25" x 3 1/8" x 133.9 grams, do<br>bends or dents, snaps shut, sealed tight.

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1940's Japanese Hand Engraved 950 Silver case 5" x 3.25" x 152.3 grams, good condition with some minor scratches and small dings, edges clean.

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1940's Japanese Hand Engraved 950 Silver Occupied Troops case 3" x 2.25" x 1" x 107.5 grams with overall wear and a few slight dents.

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1940's Japanese Oversized sterling case with trick door. 6.5" x 3.25" x 230 grams. That's over half a pound of silver, very heavy..Overall clean with no issues. The door has a trick catch. The hinge slides up to free the catch. I tried to show it in the last two pics, pointed to it.

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1940's Japanese Yamazaki Shoten [山崎商店] (1893 ~ 1990) Fine silver case. Clean with no dents, 3.5" x 3" x 84.4 grams.

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1940's Lenox Art Deco Bud Vases with Roses/Gold Green mark. 8" tall x 3.75" wide in center with no cracks, chips, crazing, or wear. b63

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1940's Lucite/fiberglass/wood Art Deco Clock converted to battery 4.75" tall x 6<br>1/8" wide. Near mint condition, extremely special high end designer stuff,<br>Didn't research but it's not some regular mass produced clock. Converted to<br>battery, dated either 1940 or 46 by hand inside. Works.

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Margot de Taxco Los Castillo Sterling Aztec Eagle Warrior Fur clip. I believe this is from the late 40's and was designed by Margot. It's an amazing piece 3" tall x 4" wide with articulated earrings that spin around when in motion, all three pieces moving on their own. It's 50 grams even, can easily be worn as a pendant/brooch, or even hung on the wall. Very substantial thick gauge sterling silver, a rare and important design. Margot Van Voorhies was born in 1896 in San Francisco, California. By the time she left her native country for good, she had survived the death of her father in 1903, the San Francisco Earthquake in 1906, the loss of her mother at the hands of a er in 1931 and the end of her first marriage in 1936. Fortunately, a Mexican vacation changed the life of Margot Van Voorhies in ways she could never have imagined. In 1937, forty-one-year-old divorcée Margot Van Voorhies left San Francisco on a trip to Mexico City. Fate threw her into the path of Don Antonio Castillo, who took her to Taxco, a Mexican hotbed for the design, crafting, and production of silver objects, in particular jewelry and housewares. Soon, Castillo would become Margot’s second husband. At the time, Castillo was working for William Spratling, a pioneer in Mexican silversmithing. He brought Margot into the business as a designer, helping her to transform her paper creations into three-dimensional forms in silver. In 1939, the pair, along with other members of Castillo’s family, opened shop as Los Castillo Taller [Taller is Spanish for “Workshop”], with Margot as the top designer. After ten years, the marriage between Castillo and Van Voorhies dissolved, as did their professional association. Margot went on to open her own shop in 1948, taking the name Margot de Taxco, by which she is best known today. Seven years later, enamel was added to many of her pieces, and this is where Margot found her legacy. At the peak of her career, Margot, who designed each piece herself, had two dozen silversmiths and a dozen enamellists in her employ to execute her vision. The men performed the duties as silversmiths; the women did the enamel work, using tiny brushes to bring the watercolor drawings to life. To ensure the accurate rendering of her jewelry designs, she compiled a book of instructions and drawings, detailing the construction and finishing of each. Margot attracted talented craftsmen who later went on to cement their own reputations, such as Sigi Pineda, Miguel Melendez, and Melecio Rodriguez. Many contemporary Hollywood celebrities were clients of Margot, including John Wayne and Lana Turner, who visited her shop every year. Tragedy struck in the form of a fire in 1960. Forced to move her studio, she never again regained her prior success, and the business folded in 1974. Margot granted several of the silversmiths in her employ permission to use her molds to create pieces on their own, in return for debt forgiveness. As a result, many of Margot’s pieces were re-created by silversmiths such as Jaimie Quiroz and Geronimo Fuentes, bearing their hallmark rather than hers. Margot passed away in 1985. But her talent as a designer and her influence as an artist have continued to gain recognition since the time of her death. Margot’s shop produced some repousse silver (a technique where a raised or relief design is hammered in from the reverse side of the piece). But she is best known for her champlevé enamel work. Champlevé is created by carving, etching, striking, or casting troughs or cells into the surface of a piece and filling it with vitreous enamel. In Margot’s jewelry, the designs were die-struck, a process that was detailed and critical to the final product. Margot produced many suites that included necklaces, brooches, bracelets, and earrings, as well as convertible jewelry. Margot de Taxco jewelry is recognized for its elegance, femininity, and variety. There were many areas of influence that can be found in Margot’s work. Her fish and wave motifs celebrated her love of Japanese art. The ornate swirls and floral motifs were reminiscent of the Art Nouveau style. Mischievous pre-Columbian figures were a recurring theme. Art Deco style ballerinas struck graceful poses. Margot was also taken with Egyptian motifs and Mexican crafts. Margot de Taxco pieces are distinguished by the stamp that includes her name, Eagle 16 (or Eagle 1, for her earlier works), along with a production number. Issued by the government, the eagle stamp was a way to identify th

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1940's Matl Sterling Repousse earrings/brooch. Selling the set shown, earrings were originally screw back and later converted to pierced. All three pieces guaranteed 900 silver or higher content. Brooch 1 5/8" wide, earrings .75" wide, 24.5 grams total weight.MAT-MATILDE POULAT & RICARDO SALAS JEWELRY Matl is the mark that appears on some of the most beautiful and unique jewelry in Mexico. Matilde Eugenia Poulat introduced MATL in 1934 and, since her death in 1960, her designs and techniques have been carried on by her nephew, Ricardo Salas. For sr. Salas, who can recite poetry in the language of the Aztecs, the mark matl, has greater meaning in its reference to the Nahuatl or Aztec word for water, atl.As a young woman, Matilde Poulat studied painting at the prestigious San Carlos academy of fine arts in Mexico city, she went on to teach painting classes at an art school until her interest turned exclusively to silver. Matilde Poulat´s designs for jewelry and figures were part of the new cultural vision among Mexico’s intellectuals after the revolution in 1920s, artists were searching for Mexican aesthetic, rejection European subjects in favor of the art of the pre-conquest Indians and of the Mexican pueblos. Sra. Poulat found inspiration in the mextec gold jewelry discovered in 1932 at Monte Alban. Her choice of motifs the dove, flowers, and tiny bells are reminiscent of the whimsical subjects of contemporary Mexican folk art.Matilde Poulat received international recognition for her jewelry when she was asked in 1941 to participate in an exhibit of Latin American silver at the pan American union in Washington, D.C. as a result of increasing demand for matl silver during world war ii , the number of silversmiths in the taller increased to thirty-three. In 1950, Srta. Poulat and her nephew opened a showroom on the first floor of her home, where she also had the workshop. Ricardo Salas recalls that they made three thousand types of silver jewelry and one hundred different pieces.Ricardo Salas worked closely with his aunt from the time he was eleven years of age. He says she recognized his artistic talent when she saw him do a play with puppets he had made himself. Sr. Salas was sent to the San Carlos academy, where he received the premio Diego Rivera. As a youth, he learned the techniques of the silversmith and perfected the carving of "Off White", coral, turquoise, and other stones used in the jewelry and figurines. From sr. Salas perspective, he and his aunt collaborated so closely as designers, that there really cannot be a comparison of their work.In 1955, William Spratling wrote of Matilde Poulat: “she has continued to produce some of the most charming native jewelry in Mexico, intensely her own. Her jewelry has the same charm and delightful surface and colorful quality of the old lacquer work of Uruapan. Spratling`s admiration for matl silver reflects his recognition of their shared appreciation for Mexican native art. This mutual inspiration led each of the two artists in different directions within the same medium. The exuberance of matl silver resembles the interiors of the churches in Puebla, like the chapel of Santa Maria Tonantzintla, where Indians covered the interior of the dome with polychromed and gilded angels. In matl silver, the introduction of color is accomplished with bits of coral, turquoise, and amethyst quartz. The surfaces are decorated with applied wire and elaborated with embossing and repousse of astounding complexity (pl.XXIII-1, XXIII-10). Matilde Poulat and Ricardo Salas have been successful in incorporating the artistic language of the Mixtecs into jewelry and silver figures with imagination, drama, and with a style that is completely personal.

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1940's Mexican Silver and turquoise bracelet. 7" long x 1 3/8" wide x 81 grams with a very small section of decorative wire with loss, no other issues.

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1940's Music Instructor Lot Chalkboard Music Note Pen King Dial o Matic Fingering Guides Simplex Fingering Slide Rules Vintage Trumpet. Selling the Lot as shown with some wear, rare and unusual items. TW75

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1940‘s Navajo hand stamped silver thunderbird pin w/ turquoise. No damage or issues, weight and measurements in pics. 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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1940's Navajo heavy stamped silver necklace. Unmarked tested high content of<br>silver either coin silver or sterling. 23" long x .5" wide 35 grams. I believe<br>this piece to be from around the 40's or 50's.

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1940's Navajo silver pin with nice turquoise. Turquoise intact and secure in bezel with multiple fractures. Weight and measurements in pics.

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1940‘s Navajo sterling Natural American turquoise owl pin twisted silver wire. Weight and measurements in pics, all solid sterling. Amazing pin with no issues. Unmarked.

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1940's Noritake Hand Painted Iris Vases On brass Stands Pair. Unusual Pair of hand painted vases with an uncommon Noritake mark. No cracks, chips, restorations, or wear, hand painted with subtle variations. 11" tall with the removable stands, 10.5" tall without. The stands came with the vases, I'm including them and it will be up to you whether you want to use them or not. TW234

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1940's Noritake Nippon toki Kaisha Hand painted dragon vase. 9 5/8" tall wonderful with partial label intact. No cracks, chips, restorations, or detectable wear. TW245

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1940's Period Art Deco Butterscotch Bakelite Necklace and Brass Mixed Metal<br>Pendant. This is a great piece with a fantastic no brainer patina to both the<br>bakelite and the brass chain/pendant. This is a great design that I'm sure can<br>be attributed to someone but I don't have time to research things, though I'd be<br>grateful for some input. The necklace is 26" and the pendant hangs another 2<br>5/8". This thing even looks great on me, it's a really classy period statement<br>piece.

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1940's Pinocchio German Noise Maker toy. Items similar to this were used as battle calls in the civil war and possibly before. 10.5" tall in good condition with no breaks and original paint. isshelf

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1940‘s Rafael Melendez Taxco sterling and amethyst floriform pin. No issues, weight and measurements in pics. Rafael Melendez was a noted silversmith who first worked with William Spratling in 1932 and went on to open his own shop in the late 30‘s.

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1940's Rosemeade Dakota Pottery Elephant Salt and pepper shakers. Much less<br>common in this trunk down form but I have seen this exact mold with original<br>labels, plus it's obviously Rosemeade clay, uncommon color also. 2.5" tall with<br>no damage.<br><br>Rosemeade pottery has become a popular collectible today because its creator,<br>Laura Taylor Hughes, chose subjects which continually fascinate people--animals,<br>birds, fish--and modeled authentic characterizations of their living<br>counterparts.  These innovative designs were then accurately hand painted in<br>nature's vivid coloring.<br>Laura Taylor combined education, experience and creative skill.  Educated at<br>UND, Taylor was a student and assistant to nationally known director, Margaret<br>Cable.  After a short period of making Dickota pottery at the Dickinson Clay<br>Products Company, Laura Taylor was appointed state supervisor of the North<br>Dakota Works Administration (WPA).<br>An opportunity to demonstrate pottery making at the 1939 New York World's Fair<br>changed Laura Taylor's life as she met Robert J. Hughes, zealous booster of<br>state enterprise.  Together they founded the Wahpeton Pottery Company in January<br>1940 and married three years later.<br>Many of Laura Taylor's naturalistic designs reflected the native flora and fauna<br>of her North Dakota farm childhood.  A wide range of other products included<br>place souvenirs, human forms, functional items and advertising pieces. <br>Observing trends, Taylor met the needs and wishes of the public.  The company<br>name was changed to Rosemeade Potteries in 1953 for better name recognition and<br>remained successful while many other companies of that era did not survive.<br>Distinctive lustrous glazes created by Howard Lewis, production manager, set<br>Rosemeade apart, making it easily recognizable.  Metal oxides painted under the<br>glazes fired into colorful hues.  Lewis also threw swirl pottery vases and<br>pitchers.  He learned the swirl process while working at Niloak Pottery and<br>previously produced "Dickota Badlands" swirl pottery for the Dickinson Clay<br>Products Company.<br>Joe McLaughlin succeeded Lewis as production manager.  McLaughlin introduced<br>decorative decals, including those of wildlife artist Les Kouba, and accelerated<br>advertising specialties sales.  Rosemeade Potteries closed in 1961.<br>Although some early pottery and the swirl ware were thrown on the potter's<br>wheel, the majority of Rosemeade was cast in molds.  Most Rosemeade pottery is<br>identified with an impressed mark or an ink stamp of the company name in black<br>or blue lettering on the bottom.<br>tw254

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1940's Royal Doulton Ladies Pair Paisley Shawl, Maureen. Both from first half of the 20th century both in perfect condition with no cracks, chips, crazing, scratches, or loss. Tallest is 7 5/8". Tw253

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1940's Shawnee Pottery Wall Sconce Lamps. These are very difficult to find, especially in a pair. Marked USA but they are 75 or so year old Shawnee. No cracks, chips, restorations, or crazing, they work. 7" tall and they will stick out 6" from the wall. tw137

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1940's Texas Folk Art Black American Cowboy Carved wood Figure with Leather<br>chaps, belt. Rare, Unusual, one of a kind. A definite museum piece. Guaranteed<br>first half of the 20th century most likely 1920's through 40's. 22" tall x 9.5"<br>wide. I didn't find any identifying features, but I'm not familiar with Texas<br>folk artists as I spent most of my career on the east coast.<br><br>Black cowboys in the American West accounted for up to 25 percent of workers in<br>the range-cattle industry from the 1860s to 1880s, estimated to be at least 5000<br>workers according the latest research.[1] Typically former slaves or born into<br>the families of former slaves, many black men had skills in cattle handling and<br>headed West at the end of the Civil War.[2] Though the industry generally<br>treated black men equally to white men in terms of pay and responsibilities,<br>discrimination persisted, though to a lesser extent than in other industries of<br>the time.<br><br>Background<br>Nat Love<br>Nat Love (1854 – 1921), an African-American cowboy and former slave.<br>After the Reconstruction of the South after the American Civil War, freed slaves<br>were still denied land ownership and other rights in many states, and about<br>20,000 Exodusters headed west to Kansas between 1879 and 1884, with smaller<br>migrations to other Western states. Many trained under Mexican vaqueros,<br>cattle-raising Native Americans, or their former masters; they then worked as<br>ranch hands for wages equal to their white counterparts and offering more<br>opportunities than existed for freemen in the South.[2]<br><br>Black men, typically former slaves, children of slaves, or working in<br>plantations, and farms would have been exposed to kitchen work and stables as<br>well. As early as 1770, regulations in Louisiana required two slaves to manage<br>100 head of cattle.[1] White ranchers could even win competitions based on the<br>cow-handling skills of the Black slaves in their possession.[3] Initially, white<br>ranchers referred to white workers as "cow hands," with Black people in the same<br>position referred to with the pejorative "cow boy." Over time the term cowboy<br>came to apply to anyone in the industry of herding cattle.[3][4] Prior to the<br>abolition of slavery, the cattle trade was considered to offer a high degree of<br>relative freedom to slaves, who would be issued s, often left unaccompanied on<br>horseback for long stretches, and trusted to return.[4]<br><br>Free Black cattle drivers drove cattle from Kansas to areas including Atlanta,<br>the Dakotas, and Canada, as well as New Mexico, Arizona, California and<br>Oregon.[5]Porter, Kenneth Wiggins (1969). "Negro Labor in the Western Cattle<br>Industry, 1866-1900". Labor History. 10 (Summer): 346–74.<br>doi:10.1080/00236566908584084. Some freed slaves remained with their former<br>masters as employees.[4] As these areas became more settled and established more<br>practical transportation networks, the era of migrant cattle ranching came to an<br>end.[6]<br><br>Work<br>Black cowhands were typically assigned to handle horses with poor temperaments<br>and wild behaviors, a career known as horsebreaking.[5] Other people in the<br>cattle trade were trail cooks, which could earn extra money over other cowhands,<br>regardless of race.[5] Trail menus from black chefs included biscuits, sowbelly,<br>beef, molasses, and coffee. Black chefs would also hunt deer and wild turkey<br>between washing and kitchen cleaning duties.[5] Black cowhands were also<br>expected to perform on the trail, and expected to sing or to pack a musical<br>instrument.[5] Others would often serve as bodyguards or money transporters,<br>which has been attributed to the unlikelihood of thieves searching a black man<br>for large sums of money.[5]<br><br>Bose Ikard served as Charles Goodnight's banker for many years. Bill Pickett was<br>credited with inventing bulldogging.<br><br>There were also black women cowboys, though their numbers are unknown, as income<br>was provided to a common household rather than to individual women. Women were<br>unlikely to inherit a homestead or continue to work in ranching, as freemen and<br>white ranchers were unlikely to work for a black woman.[7]<br><br>Rodeos<br>Popularized across the United States in 1873 by Buffalo Bill Cody, Wild West<br>shows showcased skills and characters of the Western United States in the form<br>of a traveling performance including rodeo roping, Native American dances, and<br>other acts.[3] Among these traveling shows, African-American cowboy Jesse Stahl<br>was famous for his saddle riding, a defining aspect of rodeos.[3] Racism was<br>common in rodeo competitions, and terms such as "harder to cover" could be used<br>to mask racism in rodeo competitions under the guise that white riders had more<br>difficult horses.[3] Black rodeo riders would be compared to animals, given<br>nicknames reflecting African animals and using animal metaphors not found in<br>descriptions of white rodeo performers.[3] In response to their treatment and<br>Jim Crow laws, Black cowboys formed "soul circuits," later organized as the<br>Southwestern Colored Cowboys' Association, with the largest number of<br>African-American cowboys participated in rural communities along the coast of<br>Texas up to the 1940s.<br>TW158

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