Blown Glass Collectible Jewelry

Antique print titled 'Prospetto generalle di Palmira (..)'. Beautiful view of the ruins of Palmyra, Syria. This is an optical print, also called 'vue optique' or 'vue d'optique',...

An excellent quality late 18th or early 19th century Battersea enamel snuff or patch box. The pink enamel background with white enamel lattice and a raised gold around the hand paint...

PRESENTING an EXTREMELY UNIQUE and RARE 19C 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 – 80 and made in Tunbridge Wells, England. 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. 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.

Late Roman to Early Byzantine, ca. 300 to 500 CE. A rare and beautiful amulet of a generally circular form with a flat bottom, a raised periphery, and an integral suspension loop, mo...

A large and very rare silver-inlaid antique Judaica tray Jerusalem, c.1900 Height 2.5cm, diameter 62cm This large and remarkable work is a copper and silver-inlaid antique Jewish tray, featuring meticulous and exceptional metalwork, and was made in Jerusalem around the turn of the twentieth century. It features a twelve-fold repeating pictorial decoration, which is set between two circles, that of the central ring in which a large menorah...

A rare and important late 19th century Victorian era metal mounted horse hoof match holder by Rowland Ward. Museum quality example, this most unusual curiosity having a gilt brass hinged lid opening to striker and open receptacle. Signed "Roland Ward...

14k yellow gold brooch in the form of a floral grouping. Set with amethyst flowers, jade leaves and single cut diamonds. Marked 585 with makers mark. Weight 16.4g.

This lovely stylish sentimental brooch was made for a loved one. Made in Germany, circa 1900. The brooch has a red stone and a white stone (probably moonstone) in it. A very pretty ...

Late Roman to Early Byzantine, ca. 300 to 500 CE. A rare and beautiful amulet of a generally circular form with a flat bottom, a raised periphery, and an integral suspension loop, mo...

One of a kind, 19th century leaded and stained glass panel. This incredibly well made glass window frame depicting a beautifully hand painted angel is another one of our recent great finds. The serenity and innocence that this child Jesus radiates reveils the quality of the workmanship of the artisan who created this work of religious art. This unique and highly decorative antique fragment...

Tiffany & Co. vintage 18k yellow gold and ruby floral form pin brooch. Polished and Florentine finish. 9 prong set round rubies. Made in Italy. Fully marked Tiffany & Co. 18K Italy. ...

A large early 20th century taxidermy of a bream. It is mounted in a setting of reeds and grasses in a wooden vitrified case. Made in Germany circa 1900. Measures: Width: 22.24" (56....