Mid-19th Century More Furniture and Collectibles

We are delighted to offer for sale this stunning 1856 hand watercolour map of the Austrian Alps titled Dept Des Hautes Alpes taken from the Atlas National...

An impressive silver gilt Lyme Regis & Charmouth Regatta Cup for 1846 presented by John Attwood M.P. made by Hunt and Roskell, in the form of a classical f...

The bombe chest with hinged lifting top.

A vibrantly painted antique Caen stone architectural model. Dating from the mid 19th century, this limestone model came from a French church destroyed during WWII. With its arched design and ornately carved columns, it is reminiscent of blind arcades found in historic ecclesiastical and gothic architecture. Detailed to the top with castellations, this antique architectural model...

A large and high quality 19th century French Dore bronze Colonne de Juillet mounted as a lamp. The Colonne de Juillet is a monument in France in recognition of the Revolution of 1830. It stands in the middle of the Place de la Bastille, and recognizes the "three glorious" or Trois Glorieuses (July 27-29) which was the fall of Charles X the King of France and the commencement of King Louis-Philippe, "King of the French". It was built between the years 1835 and 1840. This piece is truly spectacular and embodies the true masterpiece of the original Colonne de Juillet. The columnar body rests on a round carrara marble socle, which holds-up the dore bronze column. The dore bronze column sits on a square marble base which steps up-to a carrara marble base with dore bronze medallions symbolizing the great country of France. The upper portion is ornamented with Barye lions...

A William IV plum-pudding mahogany cellaret of sarcophagus form with a hinged lid, surmounted by an apple and grape finial, the interior with fitted bottle compartments.

A very large-scale early 19th century naturalistically cast iron scallop shell, France, circa 1820. Attributed to the Val d'Osne factory. Measures: Wid...

Red leather pouch to carry or deliver the mail with flap, decorated with gilt fleur-de-lys arabesques. Interior, two pockets, and a smaller one with flap. A folding gusset allows to ...

We are delighted to this stunning original Victorian with period ebonizing and rope twist seat Children’s Deportment chair designed by Astley Cooper D...

An exciting retelling of Jack the Giant Killer, beautifully illustrated throughout by Richard Doyle, a smart copy. A vivid retelling of 'The Story of Ja...

The largest pair of 19th century table globes we have had , at 18' diameter for the globes this pair has ebonised stands. Good original lacquer and colour to the papers. Good makers ...

Experience the timeless elegance of the Biedermeier period with this exquisite pillow, crafted from luxurious red linen and adorned with intricate bead embroidery in subtle grisaille tones. This square pillow is a true masterpiece, showcasing a central floral motif meticulously created with glass beads. The delicate embroidery is further enhanced by a charming meander band along the edges, each adorned with four additional blossoms. The design of this Biedermeier pillow exemplifies the refined craftsmanship of the 19th century. The central flower, depicted in soft grayscale tones, stands out beautifully against the vibrant red linen background, creating a striking contrast that draws the eye. The classic meander band and the floral accents at each corner add a touch of historical elegance, making this pillow a standout piece in any setting. Perfect for adding a touch of sophistication to your living room, bedroom, or study, this antique pillow is more than just a decorative item; it is a piece of history. The absence of a closure or zipper maintains its authentic antique charm, ensuring that it remains true to its origins. To preserve the beauty of this Biedermeier pillow, it should be handled with care. Avoid exposing it to direct sunlight to prevent the colors from fading and consider professional cleaning services for delicate textiles to maintain the intricate beadwork. Owning this Biedermeier pillow with...

Hûkka, hookah base, in black steel with floral decoration in silver inlay. Persia or North India, 19th c. The top part is missing.

A black oak snuff box made from timber recovered from H.M.S. Boyne, sunk 1795, raised 1833, of circular form with turned lid and base, the lid with printed description of Boyne’s car...

Rare Napoleon III gilded wood four-leaf screen upholstered with on the one side a Striped vintage Madeleine Castaing fabric and and on the other side a Green linen velvet remembering the decoration of the hotel particulier of Hubert de Givenchy (Hotel d’Orrouer, Paris, France). This screen was a part of a former Parisian decor...

Fine quality canterbury from the late 19th century and in a most special wood, black walnut.

A pair of 1840 French imperial green marble bookends with mounted 18th century Cremona bolts. With handled knobs. High quality bronze doré. Circa...

The inkwell is of square form with attractive engine turned silver gilt mounts. The glass is deeply cut and the hinged cover displays a gold disc cartouche engraved with a set of con...

English mahogany single drawer Canterbury with turned leg on brass casters. Very nice small size.

This is a semi mechanical Cordellone fabric, similar to a fine grosgrain. It is woven on an original loom from the 1850s. The Cordellone fabric belongs to the Antico Setificio Fioren...

Set of four large tie-backs, gilded with galvanic process. Very elegant for your courtains, or belts or scarfs. ref.O/6771-3

Trunk or coffer in marqueterie, either Swiss or German.

Quirky Regency lacquered screen housing a lovely tapestry Lacquered frame features intricate hand painted Chinoiserie Great decorative piece for the home, very collectable The tap...

A large William IV fiddleback mahogany cellaret of sarcophagus form, the hinged lid enclosing a twin handled brass liner, with projecting scrolled acanthus carved canted angles, on f...

An incredibly handsome early Victorian mahogany canterbury. With four shaped pierced dividers, joined by turned balusters, above a cavetto-moulded plinth, enclosing a mahogany frieze drawer on bun...

1840 campaign kerchief featuring an image of William Henry Harrison on horseback in military garb, one of the first known campaign textiles in e...

ENTIRELY HAND-SEWN, 32-FOOT, SHIP’S COMMISSION PENNANT OF THE 1845-1865 ERA, A HOMEMADE, COTTON EXAMPLE, WITH 13 STARS ON A CORNFLOWER BLUE CANTON, IN A BEAUTIFUL STATE OF PRESERVATION Commission pennants are the distinguishing mark of a commissioned U.S. Navy ship. A ship becomes commissioned when the pennant is hoisted. Flown during both times of peace and war, the only time it is not flown is if a flag officer or civilian official is aboard and replaces it with their own flag. Flown at the topmast, this would be the first thing one would see coming over the horizon and identified the vessel as a warship. Sometimes the owners of private ships mimicked the use of Navy signals. Some seafaring men would have served in the Navy and become privy to various practices in that capacity. Others flew them purely for stylistic reasons, either on a regular basis or while the boat was dressed for special occasion. Hudson River steamers regularly flew pennants of this nature, as evidenced by period photography as well as the paintings of artists such as John and James Bard...

Antique American Flag With 36 Stars On A Cornflower Blue Canton, Civil War Era, 1864-1867, Reflects The Addition Of Nevada As The 36th State; A Great Folk Exaple With Haphazard Rows Of Starfish-like Stars: 36 star American national flag of the Civil War era with outstanding collector traits. Haphazard rows of fat, starfish-shaped stars fill most of the confines of a brilliant, cornflower blue canton. Note the crude piecing of the thirteen, red and white stripes, joined in an ill-planned manner that results in great variation in width, as well as general irregularity. The 4th red stripe actually falls slightly below the canton, and the height of each does not line up with the corresponding stripe on the reverse. This can clearly be seen at the fly end, which is is turned back and bound to repair obvious extended use in an outdoor environment. Clearly the maker lacked experience in seam work. Lining up the necessary components, so that they could be viewed on both sides, presented a challenge they may have not previously faced. This is also evident in the sewing of the stars, which do not line up on the obverse and reverse sides, as they typically would in a flag sewn by an experienced flag-maker. That said, this is just this kind of homemade charm that fuels interest in early American flags...

34 STARS IN AN OUTSTANDING OVAL MEDALLION CONFIGURATION, ON A NARROW CANTON THAT RESTS ON THE 6TH STRIPE, ON A HOMEMADE, ANTIQUE AMERICAN FLAG OF THE CIVIL WAR PERIOD, ENTIRELY HAND-...

HAND-PAINTED 19TH CENTURY BANNER WITH AN 1867 VERSION OF THE SEAL OF THE STATE OF ILLINOIS, PROPOSED IN THAT YEAR BY THE SECRETARY OF STATE, BUT IN A VARIATION NEVER FORMALLY ADOPTED Banner with the Illinois State Seal, in a rare variation of the design, never adopted. In 1867 Illinois Secretary of State Sharon Tyndale proposed that the phrases in the state motto be reversed. In the wake of the Civil War, (which ended in 1865,) Tyndale suggested that the verbiage be changed from "State Sovereignty--National Union" to "National Union--State Sovereignty,” which made sense given the recent secession of the Southern States, which placed their own interests first. Illinois' own Abraham Lincoln had worked hard to preserve national interests, echoed here in the altering of the language. Though Tyndale’s suggestion was rejected, he was nonetheless charged with creating a new design, which he did and was soon adopted. This displayed the dates of "1818," when Illinois became a state, and "1868," when the seal was officially changed. Interestingly enough, Tyndale did manage to send a message in the new version by turning the word “sovereignty” upside-down , with the surmised explanation that this fit accordingly with the orientation / position of the streamer. The banner is beautifully hand-painted on muslin and retains its original staff. The shape is beautifully scalloped at the bottom edge, which is painted to look as if there is an applied fringe. Most of the elements are congruent with the 1868 version, but there are various differences. Set within a shield-shaped medallion—usually circular—is the expected eagle in a side view, spread wing pose with beak uplifted. The eagle is supposed to be perched upon a rock with one talon, while gripping a Federal shield in the other. Here there is no rock and both talons grip the shield, which displays 13 stars. Note the date of "1867" and Tyndale's preferred order of the wording on the billowing ribbon in the eagle's beak. The foreground of the official design is all grass. Here there are olive branches—a peacetime reference appropriate for a country recovering from war—on a grassy area, set upon a sandy shore before Lake Michigan, with a rising sun on the horizon. Mounting: The banner was mounted and framed within our own conservation department, which is led by masters degree trained staff. We take great care in the mounting and presentation of flags and have preserved thousands of examples; more than anyone worldwide. The background is 100% cotton twill, black in color. The mount was placed in a black-painted, hand-gilded and distressed Italian molding. A shadowbox was created to accommodate the staff. The glazing is U.V. protective plexiglass. Feel free to contact us for more details. Banner - 49" x 56.5" Frame - 67.75" x 59.25" About Jeff R. Bridgman Antiques, Inc.: As an advisor to top museums and collectors alike, Jeff Bridgman is the world's leading expert and source for antique American flags and political textiles...

HAND-PAINTED PATRIOTIC BANNER WITH THE SEAL OF THE STATE OF ILLINOIS AND GREAT FOLK QUALITIES PROBABLY MADE FOR THE 1868 DEMOCRAT NATIONAL CONVENTION...