Silver Plate Collectible Jewelry

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.

Vintage Pal Kepenyes bronze/brass necklace, 20th century. This Hungarian born artist worked in Mexico for decades, known for free-form sculptural jewelry...

A charming walking cane/stick from the late 19th century with a Greyhound head handle. The stick is wooden and with a white metal handle. Wear consistent with age and use.

Classic Art Deco AM radio by United American Bosch (Magnito Corporation) Springfield Mass. circa. 1935. Restored to original working condition.

An exceptionally large Akha Tribe woven silver bracelet with spiral design. This Tribal bracelet encompasses tradition Hill tribe silversmithing techniques ...

Large sculptural brutalist style ring by acclaimed Danish artist, Jacob Hull. Currently a size 8, it is adjustable and signed J Hull on the back. This ring has a wonderful abstract design and makes quite a statement! Information on Jacob Hull: Hull designed...

Exquisite leather cigar case with sterling silver collar. Expands for differing lengths of small cigar or cigarettes. Made in the U.K. in the 1900-1920´s. It has the stamp of the re...

This curious Folk Art stick pin was probably worn by a man, in particular, a hunter, as a charm. They’re often found on the charm bracelets of hunters, ...

A stainless steel lighter designed by Ronson. Very beautiful desk Rondette lighter, created in New Jersey United States by The Ronson Co. during the art deco period, back in the 1934. This is a very unusual lighter designed with wonderful geometric patterns and crafted in solid steel with a central round body set upon two smaller cylindrical feet. Embellished with black lacquer, creating a great contrast with the base polished steel. Extremely well made and solid construction with very nice care and attention to all details. This surely is a very decorative piece and a great conversation item in gorgeous and exceptional preserved condition. Weight: 104.9 Grams, (67.24 Dwt). Measurements: 66 mm by 21 mm by 82 mm (2.59 x 0.83 x 3.23 Inches). Marks: Stamped with the maker's mark and signed, "RONSON US PAT.RE.NO.19023 RONSON RONDETTE ART METAL WKS INC NEWARK NJ US PAT.RE.NO.19023". The Ronson lighter company started as The Art Metal Works in 1897 and was incorporated on July 20, 1898, by Max Hecht, Louis Vincent Aronson and Leopold Herzig, in Newark, New Jersey. Louis V. Aronson was a huge creative driving force for the company; and, with a few business adjustments, including the addition of Alexander...

This 19th-century walking stick from northern China is comprised of a length of thin bamboo that has been steamed and bent into a hook shape. The bamboo segments are painted in alter...

A beautiful rare Antique Qing Dynasty Chinese Ethnic Minority silver Coral turquoise necklace from Yunnan. A superb chain necklace with added Taoist charms with turquoise and fine r...

This very fine example of Chinese silver filigree artwork has been beautifully hand-made with intricate detail in the form of a large four-winged butterfly with curly antennae. The ...