French Prisoner of War Ship Model, Le Héros

Powder Horn Engraving by Charles Goodrich 1776 Powder horns stand among the rarest and most treasured forms of American folk art. Unlike commercial objects, these deeply personal items were crafted by soldiers, sailors and explorers for practical use during their journeys. Through scrimshaw—an intricate technique of engraving bone or horn with a simple jackknife and filling the crevices with available pigments like soot or ash—these individuals left tangible marks of their hopes, dreams and experiences. This exceptional American Revolutionary War powder horn belonged to Charles Goodrich (1720-1816), a significant figure in early Pittsfield, Massachusetts history. The horn displays distinctive period characteristics with the inscription "PITTSFIELD" clearly visible on its amber-colored surface. Charles Goodrich, born in Wethersfield, Connecticut in 1720, became a prominent civic leader in Pittsfield. He built the first house in the settlement in 1754 and served in various official roles, including Justice of the Peace and town representative to Boston. While Goodrich's name may not appear prominently in history textbooks, historical documents—particularly his September 3, 1776 petition to the Massachusetts Assembly—reveal his compelling story. The petition shows that Goodrich faced accusations of being a British sympathizer and draft evader. According to his account, he was targeted for his public office, physically assaulted by a man named James Morey and subsequently fined by a local committee. Goodrich maintained that he merely defended himself when attacked and claimed ignorance of requirements to either serve as a drafted soldier or hire a substitute—accusations that branded him unpatriotic during the revolutionary fervor. The Massachusetts Council's concurrence with Goodrich's petition likely inspired his subsequent military service. His powder horn, bearing the inscription of Pittsfield, accompanied him to Fort Ticonderoga, where Simonds' Regiment of Militia (2nd Berkshire County Regiment) was stationed during the difficult winter of 1776-1777. Fort Ticonderoga, a strategic stronghold in upstate New York, had been seized from the British in May 1775 by Ethan Allen and Benedict Arnold. By the time of Goodrich's service, American forces occupied the fort while preparing for an expected British counterattack. In August 1777, Goodrich and Simonds' Regiment participated in the Battle of Bennington—a decisive engagement where Patriot forces under General John Stark defeated British and Hessian troops. This victory significantly weakened General John Burgoyne's invasion force, contributing to his surrender at Saratoga in October 1777—a pivotal turning point that helped secure French support for the American cause. Powder horns captivate elite collectors and major museums alike. The Metropolitan Museum of Art recognized their significance by dedicating an entire exhibition to American Engraved Powder Horns...

A masterpiece of both cabinetmaking and mechanical engineering, this one-of-a-kind expanding table was crafted by the renowned cabinetmaker Samuel Hawkins of London for the Great Exhibition of 1851. Diminutive in size, the fascinating table was designed as a model to demonstrate Hawkins’ innovative patent screw movement to visitors of the Exhibition – six million people in total over five months. It was exhibited again a century later at the Victoria & Albert Museum during the Festival of Britain, an event intended “to symbolise two main qualities of the national character: realism and strength on the one hand, and, on the other, independence and imagination” (Catalogue of the Exhibition, 1951, p.117). To this day, the miniature masterpiece demonstrates the quest of English furniture makers to combine technical innovation with superb craftsmanship. Displaying exceptional ingenuity, Hawkins’ wind-out screw mechanism allowed one to extend the table’s base to accommodate concentric leaves with the simple crank of a handle. It is based on the inventive expanding table originally designed by Robert Jupe in 1835, which used a swivel mechanism to separate sections of the tabletop and allow for segmented leaves to be inserted. Hawkins’ tabletop, on the other hand, extends outwards directly from the center in order to accommodate additional leaves around its diameter. This unique design allowed the mechanism to also smoothly operate on rectangular tables, which could be wound out from the middle to allow for more table space. Hawkins was not alone in his endeavor to combine the technical merits of engineering and mechanics with the most artful pursuit of cabinetmaking. The first half of the 19th century saw a prolific increase in the popularity of applying new ideas to traditional furniture principles, which allowed furniture to serve many purposes. The resulting “patent” furniture was practical and refined, though few were as innovative as Hawkins’ prodigious design. Carved with the year of the Exhibition on the beautifully designed pedestal base, the table is a testament to the significance of this innovation. The model is mentioned in detail in the catalog of the Great Exhibition of 1851, the first international exhibition of industry, manufacturing, and science. Held at London’s dazzling Crystal Palace, its visitors were treated to exhibits from around the globe, including feats of engineering, innovations in industry, and marvels of design. Queen Victoria herself was a frequent visitor, along with her husband, Prince Albert, and others including Charlotte...

Binocular Periscope Carl Zeiss Circa 1965 This exceptional binocular periscope, crafted by the renowned Carl Zeiss optical works, represents the pinnacle of mid-20th century German ...

This incredible Hupfeld Phonoliszt-Violina Model B music cabinet is among the rarest and most advanced automatic music players of its time. The remarkable machine, crafted by renowned Leipzig firm of Ludwig Hupfeld, is one of the most mechanically complex music players ever made, boasting three self-playing violins accompanied by a self-playing piano. Once made in the 1000s to entertain patrons of upscale hotels, restaurants, and cafes, these extraordinary machines...

Napoleonic Prisoner of war casket Dominoes set We share what we love, and we love this early 19th century Napoleonic prisoner of war cask...

A Napoleonic era bone prisoner of war model of the 40-gun frigate ‘Creolian’, the three masted barque with a planked hull, finely detailed with a carved poop deck and a female figurehead, intricate black thread rigging and a black plaque stating in gilt, Creolian. In the original glazed wooden case with a painted background of a sunset over a bay with ships on the horizon. French, circa 1800. Provenance Ivan Roll Amis, d. 1 July 1970 Richard Henry Allen Amis, CBE, thence by descent During the Revolutionary and Napoleonic Wars (1793-1815), large numbers of French soldiers and marines were taken prisoner. To help pass the time and generate a small income, they would make a variety of objects—including ship models—from simple, easily-sourced materials such as bone and wood for sale at local markets. Typically, the models were not made to scale and tools were limited, making the quality and attention to detail in this work even more remarkable. To realise a good price at market, the models were often named after famous ships of the time. It may well be that this ship was the ‘Créole’, a 40-gun frigate of the French Navy. She served in the Brest squadron, took part in Ganteaume’s expeditions of 1801 to Egypt, and was involved in the French acquisition of Santo Domingo (also known as the Era de Francia) and briefly detained Toussaint Louverture...

Napoleonic Prisoner of war painted casket dominoes set We share what we love, and we love this early 19th century Napoleonic prisoner of war hand painted ...

An exceptionally good quality Turkish prisoner of war glass beadwork amulet necklace dating from the first world war 1914-1919. These pieces were made by Turkish prisoners of war, ca...