Dutch 19th Century gold sliding pencil

A Dutch carved wooden barometer with copper and facet cut glass housing. The carved wood has a scene of fruits and scrolls A barometer is a scien...

2 Dutch Silver Match Vestas, 19th Century 2 Silver match vestas, Dutch silver, Silver Hallmarked with the "Sword" used from 1814-1906. The one with the te...

A Dutch 19th Century Miniature Console table A 19th Century Dutch console table of 38 cm high with marble top, which is loose on the table. With an antique mirror and curled legs. An antique miniature pewter chestnut pot with lion heads...

A 19th century Dutch silver pipe stopper with ship. A ship on a plateau on the stem. The stem is openwork and twisted. The pipe cleaner was originally a simple instrument only intended to empty the pipe bowl. 19th Century and Dutch hallmarked with the "Sword" used from 1814-1906. The silversmith mark is faded The size of the pipe cleaner is 10,5 cm high, 2 cm wide and the depth is 0,7 cm ( 4.1 Inch x 0.8 Inch x 0.3 Inch) The weight is 14 grams The silver version of the pipe cleaner, consisting of a pen topped by a figure, has no relation to the luxurious multi-piece garnish or the clipping tube. It originated from the simple brass or copper predecessor or the more popular variant of wood, bone or in a rare case also ivory. It is a consumable with only one purpose: to remove the tobacco plug at the bottom of the pipe bowl and to clean the kettle. The point is the working part of the object, the decorative element functions as a handle. In addition to the pipe stopper intended for pressing the smoldering tobacco, the rooting tool is an indispensable tool for the smoker to empty the pipe bowl after smoking. Strangely enough, there is little relationship between the pipe stopper on the one hand and the pipe rooter on the other. It is especially remarkable that the silver rooters...

A Dutch 19th century crystal and gold scent, perfume bottle, ca 1860 A Dutch scent or perfume bottle with crystal cut shaped body and gold (14 Carat, 585...

Dutch 19th century silver chatelaine with 4 cachets and charms Silver chatelaine with 4 cachets and charms. The charms are a very small miniature knife...

A small antique notebook. At the front cover is a hand painted medallion depicting the Palais Bourse building, the Paris stock exchange. Surrounded wi...

19th century miniature secretaire cabinet made from Oakwood. Decorative object, can be used as jewelry/letter box. Originates Netherlands, dating, circa 1800

Small pencil case in gold, chiseled with flowers. Late 19th century - early 20th century May be used as a pendant as well. Gross weight: 8.77 gr Small shocks France, circa 1900.

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.

Clothing press in oak wood, Holland, 19th century. Garment press with closed cupboard in its lower part made of oak wood in Holland. As is normal in these utilitarian elements, it la...

Clothing press in oakwood, Holland, 19th century. On four turned legs (three of them secured with a straight chambrana) the press rises, with a drawer underneath. As it is a purely u...