Early 1800s More Furniture and Collectibles

George III stick barometer in a finely figured mahogany case with canted corners and architectural pediment surmounted by a central ivory finial. Exposed mercury tube with bulb ciste...

Originally this impressive 19th century or earlier belt buckle set was designed as the focal point of an Ottoman ceremonial or formal belt, this piece now serves beautifully as a dec...

Early 19th Century Sycamore Butter Curler This beautiful piece has been hand carved in the Georgian style, with a double curved shape and a ribbed blad...

We are delighted to offer for sale this circa 1800 Georgian Fruitwood ornately hand carved fire place screen with period tapestry A very fine, ornately carved and decorative scre...

A large circular micromosaic panel representing the so called "Tomb of Cecilia Metella on the Appian way" near Rome. This plate shows superior quality and m...

Georgian mahogany low boy with cabriole legs and slipper feet. Consisting of two short and one long drawer, with original pierced batwing brass handle...

The enamelling on this quatrefoil gold pendant is attributed to Ray & Montague: ‘hiltmakers, goldworkers and enamellers’. The obverse is mounted with a vitreous paste profile portrait cameo of Admiral Viscount Nelson within four navy blue enamel panels with the gilt inscription: ‘H·Nelson·Died·for His·Country at·Trafalgar Oct:21·1805’ all within ropework borders. The reverse is mounted with an oval polychrome enamel plaque representing a blue Royal Navy ensign flying triumphant above the flags of France and Spain superimposed with an anchor and laurel wreath against a red background within four navy blue enamel panels with the gilt inscription: Glory to the Souls of the Brave, a line from The Battle of the Baltic written in 1801 by Scottish poet Thomas Campbell (1777-1844) to commemorate Nelson’s victory at the Battle of Copenhagen. Cameo with incised signature Tassie F. 1805 English, 1805 John Ray and James Montague succeeded to the celebrated enamelling and goldsmithing firm of James Morisset (1738-1815) in 1800. Like Morisset, they specialised in presentation swords...

A white vitreous paste cameo of Emma, Lady Hamilton, attributed to William Tassie after Filipo Rega, of oval form depicting Emma facing right with her hair in a Grecian style, Englis...

We are delighted to offer for sale this lovely antique Atlas page map of Staffordshire printed in 1645 Amsterdam Staffordiensis Comitatvs Vulgo This o...

We are delighted to offer for sale this lovely antique Atlas page map of Cheshire printed in 1645 Amsterdam Staffordiensis Comitatvs Vulgo I have thre...

We are delighted to this lovely antique Atlas page map of Northamptonshire printed in 1645 Amsterdam Staffordiensis Comitatvs Vulgo I have three of th...

This fine impression of the celebrated print engraved by mezzotint engraver John Raphael Smith after a painting by Henry Danloux shows the subject on the deck of a ship in the heat of the Battle Camperdown. It is framed in an ornate giltwood frame with a paper label on the reverse showing a coat of arms flanked by the inscription ‘Admiral Lord Viscount Duncan when Victorious off Camperdown, is by permission most humbly dedicated to the Hon. Miss Jane Duncan by her most obedient Servant H.P.Danloux London. Published by H. P. Danloux No 11 Charles Street, Middlesex Hospital...

A George III satinwood four division Canterbury, of rectangular form with concave dividers and a handle, the frieze with a single drawer and painted with flowers, on the original bra...

This monumental George III gold and hardstone intaglio fob seal comprises a profile portrait of the head and shoulders of Admiral Viscount Nelson, in uniform displaying...

EXTRAORDINARILY EARLY (1806) PRINTED LINEN KERCHIEF GLORIFYING GEORGE WASHINGTON, PRINT WORKS, GERMANTOWN, PENNSYLVANIA Printed in blue ink on coarse, white linen, this patriotic kerchief shows a standing portrait of George Washington, above which is a swag valance and the words “The Effect of Principle, Behold the Man”. The portrait is based on a mezzotint after Gilbert Stuart’s very famous painting of Washington in his later years, most often referred to as the Landsdowne portrait. Stuart painted three versions of it in oil on canvas, one of which was completed in 1796 for a wealthy merchant by the name of William Constable, who commissioned the work for Alexander Hamilton. The kerchief is interesting because it is both American-made and documented. This is exceptionally unusual for any printed textile of the 19th century or prior and the earlier the time period the more unlikely an object is to be identified. This kerchief and a companion piece entitled “The Love of Truth Mark the Boy” (also glorifying Washington, through the fabled story of the cherry tree), were made circa 1806 by Germantown Print Works in Germantown, Pennsylvania. To the left of Washington's image is a portion of his infamous farewell address to his troops at the end of the Revolutionary War. To the right is a short excerpt from his eulogy. Below these are three images. In the center is a square-rigged tall ship with “Commercial Union” above it, flanked by the American eagle on the left and the British lion on the right. It is reasonable to assume that the textile may have been produced in demonstration of the maker's desire, and/or that of others, to advance trade with England. Commercial printers were very influential in early America, as they possessed the means by which to disseminate information. This kerchief and its companion piece are documented in Threads of History, Americana Recorded on Cloth, 1775 - the Present, by Herbert Ridgeway Collins (1979, Smithsonian Press), p. 63, items 38 39.* The two pieces pictured are in the collection of Cornell University, but the Collins text also cites an uncut pair to be present in the collection of the Western Reserve Historical Society, Cleveland, OH. The name "Germantown Print Works" is printed on the Western Reserve examples. Another example of the textile in question is documented in "Running for President, The Candidates and Their Images, 1789-1896" by Schlesinger, Israel, and Frendt, (1994, Simon Schuster), p. 15. I have seen three different color variations of this textile, including sepia, mulberry red, and blue. This particular example has a hand-sewn binding along the top, lower, and left edges. Mounting: The textile was mounted and framed within our own conservation department, which is led by expert staff. We take great care in the mounting and preservation of flags and have framed thousands of examples. The gilded molding has a rippled profile and dates to the period between 1825 and 1850.The background is 100% cotton twill, black in color. The glazing is U.V. protective plexiglass. Feel free to contact us for more details. Condition: There is an all-over golden oxidation of the white fabric and there is very minor staining. There are tiny tack holes in each corner and there are minor nicks around the perimeter. * Collins relates that Germantown Printworks was operated by the Hewsons. In doing so he cites one of Worthington Chauncey Ford's books on George Washington, but it isn't clear which one (there are many) and no page numbers are given. John Hewson was an Englishman who came to America and opened his printing business on the advice of Benjamin Franklin. He was one of the first “calico printers” and is the earliest documented to have advertised printed kerchiefs. His ads for bandanas appear as early as June 20th, 1774. He is suspected of having produced the very first American kerchief that pictured an American president, which is documented in Collins as item 1 on page 48. Linda Eaton, curator at Winterthur, in 2012, is currently doing in depth research on the three printers of fabrics that were operating in Germantown in early America. She discovered that the owner and/or operator of Germantown Print Works, while not currently known, was not John Hewson. This information is not yet published. She also noted that Winterthur possessed examples of the two George Washington textiles...