“Carlota” Mexican Cinema Poster, linen backed. 26″ x 30″
A nearly perfect example of an early Mexican multi panel tin lantern in near perfect ready to use condition. Circa 1930. Once common to homes in Mexico, Texas, California and Arizona back in the day.
One of the least known, most versatile, and most beautiful expressions of Mexican folk art is hojalata (tin art work), also known in some parts of Mexico as, lamina or lata. Since the 1500’s, this humble metal has been made more pleasing by being shaped, stamped, punched, painted and cut into a wide variety of decorative and functional artwork.
This rather large Ocumicho depicts a couple of Diablos’ or Devils taking the ladies of the village for I am sure a pleasant ride through the village. This earlier example is not make by its creator as many early and or later ones seem to be incised.
14 x 12 x 6
There is a very small, remote, dirt-streets town located in the western edge of Michoacan, named Ocumicho. In this little town are the most amazing folk artisans. Their style is recognizable anywhere. Their view of the world is filled with impish devils, fish-eyed persons, comical animals and weirdly shaped whistles and clay figures of all types. The range of objects goes from individual bird shaped whistles to gigantic clay scenes of the Last Supper with mermaids, a hospital operating room, children playing on playgrounds or just about any possible configuration. As is true of many folk arts in Mexico, almost the entire town participates in making figures and vignettes of low fired clay.
For a lot more information about the history of Ocumicho ceramics take a look at this article.Ocumicho is part of a cluster of villages in western Michoacan known for its clay crafts (see Michoacan map). Nearby Cocucho produces stately decorative pots, Patamban makes attractive ceramics suitable for eating and drinking, and San Jose de Gracia continues to build its reputation for glistening pineapple pottery. The artisans of Ocumicho, however, have distinguished themselves with their creations of bird-shaped whistles, winged serpents, topless merma-ids, and zany devils that ride bicycles and drive buses. Other, more tame objects include gentlemen on horseback and women in flowered dresses.
A beautiful monochromatic example of a Mexican tree of life. Circa 1960. In amazing condition. Cute rocking love bird center. 18 tall x 26 wide x 6 deep
A Tree of Life (Spanish: Árbol de la vida) is a theme of clay sculpture created in central Mexico, especially in the municipality of Metepec, State of Mexico. The image depicted in these sculptures originally was for the teaching of the Biblical story of creation to natives in the early colonial period. The fashioning of the trees in a clay sculpture began in Izúcar de Matamoros, Puebla but today the craft is most closely identified with Metepec. Traditionally, these sculptures are supposed to consist of certain biblical images, such as Adam and Eve, but recently there have been trees created with themes completely unrelated to the Bible.
A rare collection of Cabinet Cards and promotional Photos circa 1897. Many with fade or some discoloration. Still rare to find. From a Riverside California Collection showcases the unusual early life of a true female pioneer.
Laverie Vallee née Cooper (July 18, 1875 – February 6, 1949), best known by her stage name Charmion, was an American vaudeville trapeze artist and strongwoman whose well-publicized suggestive performance was captured on film in 1901.
A native of Sacramento, Charmion built her act around a memorable routine which opened with her on-stage entrance dressed in full Victorian street attire. She subsequently mounted the trapeze and disrobed down to her acrobat leotards in the midst of the trapeze’s swinging motion. She appears to have begun performing while in her late teens, and this was part of her repertoire at least as early as May 1, 1898, and possibly before 1896, when her act was seen by critic George Jean Nathan while he was a boy.
Charmion performed a version of this then-risqué striptease for an Edison short film, “Trapeze Disrobing Act”, on November 11, 1901. Two men are pictured in the film as an on-screen audience, applauding Charmion, and catching her clothes. This was deemed necessary so that the men in the actual audience would have a visual cue to enjoy the performance, instead of reacting with disgust, as polite society then demanded.
A rare survivor of an early California Porcelain Plate In relatively good condition.
California was very late in beginning the official issuance of license plates. More
than a decade after New England first pioneered state-issued plates, California
first issued plates to motorists with a dated 1914 porcelain. This ordinance was
passed on May 31, 1913, and became effective January first of the following year.
Newspapers reported that a contract for 100,000 pairs of passenger plates and
20,000 motorcycle plates weighing an aggregate of 165 tons was given to the
Motor Vehicle Department of the State Department of Engineering.
Not a few Californians were miffed,
however, when the decision was made to
send East for the manufacture of the
plates, contracting with the Ingram-Richardson Manufacturing Company of
Beaver Falls, PA for the nearly $40,000 order. As one bitter editorial in the
“Oakland Tribune” observed, “an automobile tag is not such a marvelous product
of the artisan that factories in this state cannot fashion it.” The plates cost the
state 21½ cents each, and the registration fees paid by California motorists in
1914, which ranged between $5 and $30 depending on horsepower, helped to
cover this expense. In another misstep, the three-pound packages which
automobile owners began receiving late in 1913 were sent using Wells Fargo
Express Company, rather than parcel post. As a result, the fifty-five cent cost of
mailing, which had to be paid by the recipient upon delivery, was markedly higher
than it would have otherwise been. In January, this was rectified and the state
began shipping via the U.S. Postal Service for a charge of only twenty-nine cents
For a while, the authorities were lenient on prosecuting those without plates on
their cars because of a bitter fight regarding the constitutionality of the new
automobile law. However, once the state Supreme Court upheld the legality of
the law, the state cracked down, and any motorists driving without their 1914
plates after about mid-March were liable to arrest. The state law required plates
be conspicuously displayed on both front and rear, not less than 16 inches from
the ground. The plates were not allowed to be fastened in such a way that they
could swing back and forth, and the rear plate had to be illuminated from one half
hour after sunset to one half hour before sunrise. Somewhere around 125,000
cars were registered in 1914, with plate #100,000 going to the Automobile Club of
Lovely Hand Chased Moroccan Tray or wall Plaque. Well done piece thats not been polished in some time. 36″ across and in great condition.
Moroccan may refer to:
- Anything of, from, or related to the country of Morocco
This beautiful Hires Rootbeer Sign is a Great survivor. Circa 1950’s.Large and in charge as they say 34.5 x 34.5 in size. Well Marked Made in the USA. Factory marked as well. Very little wear to edges is all. As close to Mint as you may find.
Hires Root Beer was created by Philadelphia pharmacist Charles Elmer Hires. The official story is that Hires first tasted root beer, a traditional American beverage dating back to the colonial era, while on his honeymoon in 1875. However, historical accounts vary and the actual time and place of the discovery may never be known. By 1876, Hires had developed his own recipe and was marketing 25-cent packets of powder which each yielded five gallons of root beer. At Philadelphia’s Centennial Exposition in 1876, he cultivated new customers by giving away free glasses of root beer. Hires marketed it as a solid concentrate of sixteen wild roots and berries. It claimed to purify the blood and make rosy cheeks. In 1884, he began producing a liquid extract and a syrup for use in soda fountains, and was soon shipping root beer in kegs and producing a special fountain dispenser called the “Hires Automatic Munimaker.” In 1890, the Charles E. Hires Company incorporated and began supplying Hires root beer in small bottles claiming over a million bottles sold by 1891.
But Hires’s choice of name for his product caused a problem: the word “beer” drew the wrath of the temperance movement. He had his root beer tested by a laboratory, and trumpeted their conclusion that a glass of his root beer contained less alcohol than a loaf of bread. Hires Root Beer was promoted as “The Temperance Drink” and “the Greatest Health-Giving Beverage in the World.” Hires advertised aggressively, believing “doing business without advertising is like winking at a girl in the dark
Little is know about this Poster other than it is an original done by the famous W.J. Morgan K Co Lithograph company of Cleveland Ohio. Featuring a Damsel in distress keeping the bandit’s from taking her child by drawing a gun and proclaiming “Now!! Try to take my baby!”. The Bandit seems startled while his back up gang clowns around outside. An early Silent Circa 1910 and most likely lost to History. Only the true film buff may shed light on this movie and beautiful Poster. Mounted on Board as many were in the 70’s it is in wonderful condition with no fade, foxing or repairs evident 27 x 39 5/8th
MORGAN LITHOGRAPH COMPANY – The Encyclopedia of Cleveland History
The MORGAN LITHOGRAPH COMPANY was established by William J. Morgan (1838-1904) and his younger brother, George W. (1843-1905) in 1864. The Morgan brothers’ parents emigrated from Wales in 1842, first settling in Pittsburgh before arriving in Cleveland in 1854. Both brothers were veterans of the Civil War, during which William served as a captain in the CLEVELAND GRAYS. Both are buried in LAKE VIEW CEMETERY.
Located originally on Superior Street, the W. J. Morgan & Company produced broadsheets, trade cards, pamphlets, blotters, postcards, and posters to advertise local businesses. Increasing orders from surrounding states soon allowed the company to move to larger headquarters.
Morgan used the stone lithographic process to create its advertising materials. They hired a number of artists to design quality images to entice businesses to pay Morgan to promote their products. Many of the artists were also traveling salesmen who sketched their clients? offices, buildings, and facilities?renderings which often appeared on the advertising materials.
By 1887, the company was renamed Morgan Lithographic Company and focused almost entirely on the entertainment business, designing broadsheets, posters and other items for circuses, theaters and traveling companies. Ringling Brothers Circus was one of its premier clients. From its work with Ringling, Morgan claimed it was the first to create billboard-size (or 24-sheet) posters.
In the 1890s, Morgan Lithograph Company won gold medals for its large-scale posters at both the Paris World?s Fair and the Chicago Exposition. Morgan also produced political posters for William McKinley’s presidential campaign in 1896.
In the early 1900s. Morgan Lithograph Company quickly became one of the leading practitioners of poster production, to advertise films. Its financial success allowed it to buy up smaller competitors, thereby gaining increased market share and expanded production facilities. In 1913, Morgan produced oversized three- and six-sheet posters as well as standard one-sheet posters measuring 27 inches wide by 41 inches high. Motion picture companies across the country touted the quality of Morgan Lithograph’s work.
Morgan Lithograph Company continues to produce graphic materials as of 2014, albeit with a variety of new technologies. Currently named Morgan Litho and located at 4101 Commerce Avenue, it uses letterpress, screen, and digital printing and serves a wide variety of clients.
A Beautiful example of Hector Aguilar’s work in Copper and Brass. Circa 1950.
11 x 6 x 1/34 Great Condition Ready to use. Price $950.00
Hector Aguilar, another Mexican silver designer and one of Spratling’s disciples.
Hector Aguilar, born in 1905, was one of Taxco’s great jewelry designers. In 1935 he began working for William Spratling as a shop manager at Taller de Las Delicias in Taxco. In 1937, he began his apprenticeship under Spratling. The American’s designs, featuring traditional Mexican motifs, influenced Aguilar greatly. Unlike many of his peers, however, he chose to work with nearly pure silver (980 or 990 millesimal fineness, compared to the more common 925 sterling silver alloys typically used).
Aguilar was not only a gifted artist and silver designer and talented silversmith, he also had good business sense. In a very short time he left Spratling’s tutelage and began his own venture.
In 1939, with the financial aid of Valentin Vidaurrreta, Aguilar opened his own signature workshop (with encouragement from his former employer). Artists that joined him included Pedro Castillo, Reveriano Castillo, and Valentin Vidaurrreta; some of his early artisans followed him from Taller de Las Delicias. Aguilar found inspiration in Aztec and Mixtec art and architecture, and his work quickly became very popular.
About four years later, metal shortages in the United States during World War II put Aguilar in a good position to secure a lucrative deal with the American costume jewelry company Coro. His artisans provided their excellent pieces to Coro until 1950.
Fine work and good business strategy enabled Aguilar to open Taller Borda in 1948. Hundreds of silversmiths and other artisans trained there, and the shop quickly became one of Mexico’s leading silver retail merchants. Aguilar’s shop offered a wide line of products, including high-quality sterling silver jewelry, hollowware, dinnerware, décor, and novelties.
For over a decade Taller Borda was a premier workshop and retailer. Aguilar’s designs and the skill of his workers created works of art that were highly desirable at the time and gained value as time went on and the fame of Aguilar and Taller Borda spread.
However, according to some of his former workers, Aguilar’s business shrewdness could be seen as coming at the cost of his employees. In the early 1960’s, the workers of Taller Borda intended to unionize and strike. Aguilar preempted this move by transferring all of his properties into other people’s names, claiming bankruptcy, and closing the doors of the workshop on the morning of Christmas Eve. Many workers, some of whom had been with Aguilar for decades, received little or no compensation for their years of loyalty and effort.
Hector Aguilar enjoyed retirement for a couple of decades before his death in 1986.
Aguilar’s work is considered some of the most valuable and collectible Taxco sterling silver in the world today. Mexican silver enthusiasts prize it and his work is highly sought after. Authentic Aguilar pieces feature his mark, a conjoined “HA” and an eagle motif, with either a 3, 9, or 31 on the chest.
Lovely 12″ Catalina Island Trophy Vase in Mandarin Yellow. Near perfect condition. Small repair to foot done professionally Catalina Pottery (or Catalona Island Pottery) is the commonly used name for Catalina Clay Products, a division of the Santa Catalina Island Company, which produced brick, tile, tableware and decorative pottery on Santa Catalina Island, California. Catalina Clay Products was founded in 1927. Gladding, McBean & Co. acquired all of the assets of the company in 1937 and moved all production to its Franciscan dinnerware division in Los Angeles. Price on Request