제품

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 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 Hopi Kachina Doll estate fresh guaranteed 1940's or 50's at the latest. These are from the estate of Bill Netherton 1924-2021. 8.25" without the feathers. tw119

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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 Huge 17" Roseville Centerpiece. 16 7/8" x 8.75" x 5" deep. Good old piece from the second quarter of the 20th century with great glazing and colors and no cracks, chips, or restorations. isshelf

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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 Art Deco Sterling, Shibuichi and shakudo mixed metals case. 5<br>1/8" x 3 1/8" x 139.4 grams, very clean with minor wear, exterior polished. The<br>silver sections are solid high content silver(tested) but there are no<br>detectable silver markings.<br><br>Japanese silver case fabricated with shibuichi and shakudo panels in an art deco<br>parquetry design. The complex design is formed from individual panels soldered<br>together so the pattern repeats inside and out

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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 Native American Bisbee/royston turquoise sterling pin. Nice large pin<br>with high grade turquoise cabochons. Piece has a lot of character. 2.25" wide x<br>2.5" tall 12.4 grams.<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.

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1940's Native American Navajo Sterling silver cluster cuff bracelet high grade<br>turquoise, one partially missing small stone on right side.<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. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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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 Stamped silver and turquoise bracelet. Fits up to a 6.5" wrist, no<br>issues.<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. Most cuff bracelets are shown photographed<br>on a 6" woman's wrist and will include a photo showing the inside circumference<br>where the metal tip meets the number on the tape measure.

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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 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 Royal Winton Old Cottage Chintz Rare Individual Coffeepot 6" tall with lid x 5.75" handle to spout with no cracks, chips, restorations or stains, fine crazing as expected. B35

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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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1940's Tmk1 Hummel Crown mark and full bee feeding time. 5.75" tall with no cracks, chips, restorations, scuffs, or crazing. humshelf

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1940's TMK2 Hummel Incised Bee mark Girl with basket 5 7/8" tall with No cracks, chips, restorations, or crazing. humshlf1

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1940's UITA22 Navajo Stamped silver owl pin with turquoise.Navajo trader Dean Kirk opened his own trading post at Manuelito, New Mexico (between Gallup and the Arizona border) by January 1941. The silver work made in Dean’s shop was typically Navajo tourist type designs and hallmarked UITA22 (under the auspices of the United Indian Traders Association) until about 1951.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 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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1940's Walt Disney Donald Duck Ceramic Bank USA. 7.5" tall with no cracks, chips, or restorations. isshelf

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1940's William Moorcroft Clematis Covered Bowl. An earlier example of the<br>original William Moorcroft design from the 30's or 40's with no cracks, chips,<br>or restorations, a little crazing as expected from an 80 year old piece of<br>earthenware. 6.5" wide x 3.5" tall.<br><br>History of Moorcroft Pottery<br>Compared to many other Stoke Pottery brands, Moorcroft started quite late,<br>created by William Moorcroft in 1897. Now, however, it’s a worldwide brand and<br>has been growing in quality and prestige ever since its inception.<br><br>In 1928, Moorcroft was appointed ‘Potters to H.M. The Queen’, cementing the<br>quality and demand of the brand.<br><br>After William died in 1945, his son Walter Moorcroft took over the<br>responsibilities his father had held and became the sole Moorcroft designer.<br>Walter introduced many of the exotic flowers that are seen and loved in the<br>designs today. Walter retired from this role in 1986, and Moorcroft have since<br>seen a steady increase in designers and have even developed the Design Studio, a<br>place which now hosts five world-class ceramic designers.<br><br>From its early conception, Moorcroft pottery was in high demand from prestigious<br>department stores such as Harrods, Liberty of London, and even Tiffany & Co.<br>This demand cemented the pottery brand as one of artistic quality and a solid<br>investment, which we can still see to be true to this day.<br><br>isshelf

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30's-40's Native American silver pin with center turquoise. Measurements in pics.

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1940's-50's Zuni Shell Channel inlay clip-on earrings 3.5" tall x 1.5" wide x 24.1 grams with no issues, strong springs on clips.All precious metals are tested and guaranteed, any Native American jewelry referred to as Silver or Sterling is guaranteed to be a minimum of 90% (coin) silver and possibly higher content. Anything marked is guaranteed to be what it's marked, most bracelets are photographed on a 6" wrist (non hairy), rings photographed on the appropriate sized finger when possible. With bracelets if the measurement is not given in the description then inside circumference is shown where the metal meets the number on the the cloth tape measure.

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Royal Doulton Children with Dogs Lot. Selling the lot dating from the mid 20th<br>century. Tallest 6". I cannot sell one alone but may sell all but one if you<br>care to make an offer. They are all perfect with no cracks, chips, crazing,<br>restorations, or loss.<br>TW253

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1940's/50's Frankoma Ada Clay Large Turquoise Blue vase 10.25" tall with no cracks, chips, restorations, or detectable wear. The base of this piece looks really old, It may be Blue/gray jade color, this was part of a large collection of old blue Frankoma I purchased from the family of a lifelong collector, there were many variations in color and I'm not a world renown expert on Frankoma, it's beautiful, early and blue/green.

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1940's/50's Frankoma Ada Clay Turquoise Blue collection. Selling the three pieces shown, largest 9.25" tall vase, none with any cracks, chips, restorations, or detectable wear. The Wall pocket is a little greener than the other two pieces.

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1940s Art deco Guilloche enamel Rose Brooch 1 1/8" with no detectable wear or<br>damage.

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1941 Bob Crabb Texas Hill country Bluebonnet Landscape Watercolor. Really nice<br>watercolor. This guy did a lot of exhibitions in his time, there's archives of<br>him in the Smithsonian. He was in the Dallas Museum of art in 1940. Frame<br>measures 18.75" x 14 5/8" inside of matting is 12" x 8". His art is in many<br>private collections but rarely comes on the market as he was not very prolific.

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1941 Ww2 Sterling Silver Bowling Trophy Pendant 81st Armor Regiment Fort Benning, GA. Interesting because this was given the first great the 81st A.R. Was established. Great crossover collectible. 1.25"

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1942 Texas A&M Fireman's School Original photograph Aggie School for Firemen.<br>Selling the large 1942 panoramic photo shown, it's an original photo with<br>provenance shown written on front and back of frame. I'm assuming Curtis is in<br>the photo. This is one of the first years of the School for Firemen at A&M. 21"<br>x 11.5" frame, a few bends to photo only visible upon very close examination.<br>Displays very well, extremely rare photo if not the only one in existence.<br>isshelf

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1942 WW2 Era Japanese Mitsubishi Fighter plane vase. 6" tall with no damage or restorations, some wear to gilding as shown. This vase was created in 1942 by Mitsubishi, which manufactured fighter planes at that time, as a memento of the Army commendation

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1943 Persian Niello sterling hand engraved bracelet. No damage or issues, really well made. 35.6 grams

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1945 Rookwood Art Deco Ship bookends. Great mid century American art pottery<br>bookends. Overall crazing, likely intentional. No cracks, chips, or<br>restorations. Selling the pair shown.<br>isshelf

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1945 Rookwood MCM Chinoisiere Vase 6.25" tall. No cracks, chips, or<br>restorations, overall crazing which seems intentional.

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1947 Early Dryden Pottery jar/mini vase from Pratt Jun-Sen Banquet. 3" tall with no damage or significant wear. Dryden Pottery was founded in 1946 in Ellsworth, Kansas by Alan James Dryden aka "Jimmy", who relocated his business to Hot Springs, Arkansas in 1956. isshelf

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1947 MCM Rookwood Art Pottery Fish Soap Dish/Ashtray. Great piece of period MCM<br>American art pottery with no damage or wear. 5 5/8" wide x 5" tall.<br>isshelf

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1947 Rookwood Advertising Ashtray Boss Kerosene ranges 5.75" wide with no crack,<br>chips, restorations, or other issues.<br>isshelf

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1947, 1950 Missouri Pacific Railroad New York Central PRR Time Tables. The 1950<br>is a little rough but still presentable. The rest are in good condition. They<br>are old, so they all have some wear.<br>Tw80

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1949,1950 Manheim German Regatta Medals Rowing Medal. Interesting and rare medals. Largest is 3" tall.

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1950's Los Castillo Sterling Silver Modernistic Turquoise and Malachite Brooch. 2 3/8" wide x 1.75" tall. Good vintage condition with no significant issues.

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1950's Bay Meadowns Racetrack Program and Caliente Mexico. Amazing condition,<br>selling the two programs shown. Caliente has pencil notes on all the pages, all<br>pages of both intact.<br>tw260

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