Rare 19th century Pith or Tropical Officers Helmet

19th century black painted leather French fire helmet with painted logo with what looks like a 'French Lily' and three hooked lines Made out of one...

Early 19th Century Odd Fellows or Oddfellows tin heart in hand on an oak stick or staf. The basic idea behind the hand with heart is that whenever an Od...

This is a very cool guy, it's a wooden head of a 19th century 'the Strongest Man of the World' attraction on a carnival or fair. The brown color, or maybe the shape of his head, mak...

This papier mâché or papier-mâché model on wood of a clam is made in France by the Dr. Louis Auzoux workshop. The people from Dr. Auzoux's workshop in Paris were the best and most f...

Four sets and two single pieces of English Victorian brass chimney ornaments or "good luck" shoes. What a lovely collection of shiny shoes don't you think? Let me tell you a little bit about them, during the Victorian period in England, it was fashionable to have a pair of "good luck" brass shoes on your mantel (fireplace), they would been given to you as a wedding gift. Two sets were definitely match stick holders...

This head is from a fair or carnival game. Not sure what the game was, perhaps the head has been used to toss rings over, or maybe you were supposed to throw something in his mouth....

Handsome 19th century Austrian helmet. Helmet has been separated into two parts so they can be flush mounted to a wall.

English pith helmet and painted copper box with all the historical romance you could wish for. Originally purchased from Gieves and Hawkes London by F.C.L....

19th Century French First Officer’s Uniform Red Epaulettes Good pair of French Officers Epaulettes made in Red Silk and lined in black velvet, the f...

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.

JINGASA - ICHIMON-GASA EDO Period 19th Century Jingasa, flat-shaped Samurai headdress made of wood, the exterior covered with black lacquer depicting a brown kamon, a Japanese heral...

Late 19th century British Army officer's painted pine campaign chest containing original steel & brass campaign bed. Stand is modern as is bed canva...