1893 Chicago World’s Fair Waltham Pocket Watch

Presenting a rare first edition hardback copy of The Wandering Jew by Eugene Sue, Complete Edition IN ONE VOLUME with Illustrations by GAVARNI and GIRARDET, published by George Routl...

Presenting An Extremely Rare Edition hardback copy of Bibliomania or Book Madness; A Bibliographical Romance. Illustrated with Cuts. By Thomas Frognall Dibdin, D.D. New and Improved Edition, to which are now added Preliminary Observations, and a Supplement Including a Key to The Assumed Characters in the Drama. Published by Henry G. Bohn, York Street, Covent Garden, London MDCCCXLII (1842). Originally retailed by Little & Brown, Booksellers & Importers of Boston.. This Extremely Rare Book Is In Excellent condition for its age, some very minor ‘knicks’ on the edges of the spine and cover, but otherwise extremely GOOD. The text is almost perfect. Red Moroccan Leather and wavy board jacket with gilt edge and gold lettering. As An Added Bonus ..... the Book comes with a Label belonging to it's original owner, Major William Alexander Obenchain. Major William Alexander Obenchain was a man of prominence in Bowling Green, KY and originally, Virginia. He served as a Colonel/Major on General Lee...

Presenting an absolutely gorgeous and extremely unique and rare 19th century British Tunbridgeware hair pin/bobbin or slide. This slide is unlike any of it’s kind we have seen before…. it is a very rare survivor ! From circa 1860–1880. Made of walnut with gorgeous marquetry inlay on the entirety of the front with classic Tunbridgeware micro-mosaic all over the front. The rear is walnut. The marquetry inlay appears to be various different woods, namely, maple, walnut and satinwood. Would have been worn in a Lady’s hair bun with the micro-mosaic facing forward. This would have belonged to a very elegant lady in the mid to late 19th century. Tunbridge ware is a form of decoratively inlaid woodwork, typically in the form of boxes, that is characteristic of Tonbridge and the spa town of Royal Tunbridge Wells in Kent in the 18th and 19th centuries. The decoration typically consists of a mosaic of many very small pieces of different coloured woods that form a pictorial vignette. Shaped rods and slivers of wood were first carefully glued together, then cut into many thin slices of identical pictorial veneer with a fine saw. Elaborately striped and feathered bandings for framing were pre-formed in a similar fashion. There is a collection of Tunbridge ware in the Tunbridge Wells Museum and Art Gallery in Tunbridge Wells. The famous makers of Tunbridge ware were in the Tunbridge Wells area of Kent; their most notable work was from circa 1830-1900. Early makers of Tunbridge ware, in Tunbridge Wells in the mid-18th century, were the Burrows family, and Fenner and Co. In the 19th century, around 1830, James Burrows invented a technique of creating mosaics from wooden tesserae. Henry Hollamby, apprenticed to the Burrows family, set up on his own in 1842 and became an important manufacturer of Tunbridge ware, employing about 40 people. Edmund Nye (1797–1863) and his father took over the Fenner company when William Fenner retired in 1840, after 30 years in partnership with him. Thomas Barton (1819–1903), previously apprenticed at the Wise factory, joined the Nyes in 1836, and worked as Nye’s designer; he took over the business in 1863 and continued there until his death. In Tonbridge (near to Tunbridge Wells), George Wise (1703–1779) is known to have had a business in 1746. It continued with his son Thomas, and Thomas’s nephew George (1779–1869), who took over in 1806. In its early years the company made articles such as workboxes and tea caddies with prints of popular views; later items had pictures created from mosaics. Their workshop in Tonbridge, Wise’s Tunbridge Ware Manufactory, was next to the Big Bridge over the Medway; the building was demolished in 1886 to widen the approach to the bridge. Tunbridge ware became popular with visitors to the spa town of Tunbridge Wells, who bought them as souvenirs and gifts. Articles included cribbage boards, paperweights, writing slopes, snuffboxes and glove boxes. At the Great Exhibition of 1851, Tunbridge ware by Edmund Nye, Robert Russell and Henry Hollamby was shown; Edmund Nye received a commendation from the judges for his work. He exhibited a table depicting a mosaic of a ship at sea; 110,800 tesserae were used in making the picture. The manufacturers of Tunbridge ware were cottage industries, and they were no more than nine in Tunbridge Wells and one in Tonbridge. The number declined in the 1880s; competent craftsmen were hard to find, and public tastes changed. After the death of Thomas Barton in 1903 the only surviving firm was Boyce, Brown and Kemp, which closed in 1927. Marquetry was an old technique which was continued by Nye and Barton to create images such as birds or butterflies. ‘Green Oak’ as caused by the fungus Chlorociboria aeruginascens. Stickware and half-square mosaic was invented by James Burrows in about 1830: a bunch of wooden sticks of different colours, each having triangular or diamond-shaped cross section, were tightly glued together; in the case of stickware, the resulting block was dried, then turned to form an article such as the base of a pincushion. For half-square mosaic, thin slices were taken from the composite block, and applied to a surface.[1][2][4] Tesselated mosaic, was a development by James Burrows of half-square mosaic; it was adopted by George Wise and Edmund Nye. Minute tesserae were used to form a wide variety of geometric and pictorial designs. Many sorts of wood were used for the various colours; about 40 were in regular use. Only natural colors were used; green was provided by “green oak”, produced by the action of fungus on fallen oak. Designs for articles were often taken from designs of Berlin wool work.

PRESENTING A VERY RARE and Original J Mack Moore Photo of Virginia Memorial in Vicksburg, MISS and probably taken circa 1907/08, after it’s dedication. Paper photograph mounted on board, on it’s original matting. Taken by famous photographer John Mack Moore of Vicksburg and signed by him in red ink on bottom left “J Mack Moore’ and “Vicksburg, Miss” on the bottom right (also in red ink). Hand-noted in black ink on rear as “Virginia Tablet, Vicksburg National Military Park” and also signed again by J. Mack Moore in red ink on left center on the rear and “Vicksburg, Miss” on the right center (also in red ink). Newly framed and matted and under glass. Original photos by J. Mack Moore are ‘highly’ sought after and have performed very well at auction. John Mack Moore, born in 1869, was the son of prominent residents of antebellum Vicksburg. He was only a toddler when the famous 1870 race between the Robt. E. Lee and Natchez had his hometown in a state of excitement as the big sidewheelers passed upriver en route from New Orleans to St. Louis. As a young man, he became an avid and skilled photographer, spending much time at the wharf along the Mississippi and Yazoo, recording on glass plate negatives the daily activity of the busy river landing. Conversations with masters, mates, mud clerks and roustabouts were his daily fare. Moore learned photography from an elderly master of albumen, wet plates and homemade printing papers. He had a disdain for newfangled gadgetry and held fast to utilizing the old methods of previous decades in the making of photographs, with sparkling results. J. Mack Moore was considered the dean of photographers as well as a colorful character around Vicksburg. In later years, owing to his white hair and moustache, he was said by many to bear a close resemblance to Mark Twain. Moore’s Clay Street home, where he also operated his photographic studio, was built from the top down, a most amazing feat accomplished by a unique individual. Originally it was a rambling residence in a Southern, park-like setting. However, when paved streets eventually came to the city, the house was left at the base of an embankment, the large oak trees removed to make way for an unsightly culvert. Singlehandedly, Moore raised the house to street level. As the edifice gradually rose, Moore fashioned lower floors, accomplishing the feat with heavy timbers and screw jacks...

Original turn-of-the-century Art Nouveau portrait pocket Gold-filled watch by Waltham featuring a portrait of a female nymph with flowing locks of hair over flowers with matching flo...

New York World's Fair "Christian Science Pavilion" Architects Model, circa 1965 Measures: 27.5" wide x 29.5" deep x 12.5" high Architects origi...

The World’s Fair Collection is a family of fixtures handmade from sustainably sourced materials and upcycled antique paper parasols given to visitors at ...

1933 - A Century of Progress - Chicago Worlds Fair solid etched copper souvenir tray, unusual version with handles. The Century of Progress International Exposition, also known as...