Miscellaneous Antiques and Collectables
Late 1800s, American WALNUT, METAMORPHOIC CHILD’S CHAIR
On our first attempt we found four positions including a Highchair, a mid-height chair, a low push chair and a rocker but more positions should be possible considering the number of ratchet positions in the mechanism. The feeding tray lifts up. The cane back and seat probably a “some time ago” replacement and still in good order. Height at top of back support in Highchair position 91 cm. In completely “as found” by us two days ago condition with dry timber, dust, cobwebs, dead insects, rust, loose screws, squeaky wheels but with some TLC this little treasure will come up looking and functioning beautifully.
Late 1800s, American WALNUT, METAMORPHOIC CHILD’S CHAIR
On our first attempt we found four positions including a Highchair, a mid-height chair, a low push chair and a rocker but more positions should be possible considering the number of ratchet positions in the mechanism. The feeding tray lifts up. The cane back and seat probably a “some time ago” replacement and still in good order. Height at top of back support in Highchair position 91 cm. In completely “as found” by us two days ago condition with dry timber, dust, cobwebs, dead insects, rust, loose screws, squeaky wheels but with some TLC this little treasure will come up looking and functioning beautifully.
Late 1800s, American WALNUT, METAMORPHOIC CHILD’S CHAIR
On our first attempt we found four positions including a Highchair, a mid-height chair, a low push chair and a rocker but more positions should be possible considering the number of ratchet positions in the mechanism. The feeding tray lifts up. The cane back and seat probably a “some time ago” replacement and still in good order. Height at top of back support in Highchair position 91 cm. In completely “as found” by us two days ago condition with dry timber, dust, cobwebs, dead insects, rust, loose screws, squeaky wheels but with some TLC this little treasure will come up looking and functioning beautifully.
Late 1800s, American WALNUT, METAMORPHOIC CHILD’S CHAIR
On our first attempt we found four positions including a Highchair, a mid-height chair, a low push chair and a rocker but more positions should be possible considering the number of ratchet positions in the mechanism. The feeding tray lifts up. The cane back and seat probably a “some time ago” replacement and still in good order. Height at top of back support in Highchair position 91 cm. In completely “as found” by us two days ago condition with dry timber, dust, cobwebs, dead insects, rust, loose screws, squeaky wheels but with some TLC this little treasure will come up looking and functioning beautifully.
Late 1800s, American WALNUT, METAMORPHOIC CHILD’S CHAIR
On our first attempt we found four positions including a Highchair, a mid-height chair, a low push chair and a rocker but more positions should be possible considering the number of ratchet positions in the mechanism. The feeding tray lifts up. The cane back and seat probably a “some time ago” replacement and still in good order. Height at top of back support in Highchair position 91 cm. In completely “as found” by us two days ago condition with dry timber, dust, cobwebs, dead insects, rust, loose screws, squeaky wheels but with some TLC this little treasure will come up looking and functioning beautifully.
Mid C20th, Australian, Art Deco, CHROME and BAKELITE SMOKER’S STAND / STANDARD LAMP: Ashtray cover off
Standing on four ribbed chrome pad feet under a circular brown Bakelite base. The octagonal scalloped lower leading to reverse tapering reeded cover below the table. 360 degree swivelling chrome ashtray with Bakelite knob to ashtray cover present; matchbox holder with fan motif to the side. The Bakelite table with a ringed surface and chrome outer edge. A plain, round, chrome riser below the tapering fluted Bakelite support for the original Bakelite switch and holder. Sculptural, semi beehive glass shade marbled pink and white. The table 44 cm diameter; 52 cm over ashtray. Height to upper edge of gallery 147cm, total height with this shade 170cm. Minor scuff marks to Bakelite; the slightest of pits to the chrome. All Bakelite and chrome are original. New gallery and professionally rewired.
Mid C20th, Australian, Art Deco, CHROME and BAKELITE SMOKER’S STAND / STANDARD LAMP: Ashtray cover off
Standing on four ribbed chrome pad feet under a circular brown Bakelite base. The octagonal scalloped lower leading to reverse tapering reeded cover below the table. 360 degree swivelling chrome ashtray with Bakelite knob to ashtray cover present; matchbox holder with fan motif to the side. The Bakelite table with a ringed surface and chrome outer edge. A plain, round, chrome riser below the tapering fluted Bakelite support for the original Bakelite switch and holder. Sculptural, semi beehive glass shade marbled pink and white. The table 44 cm diameter; 52 cm over ashtray. Height to upper edge of gallery 147cm, total height with this shade 170cm. Minor scuff marks to Bakelite; the slightest of pits to the chrome. All Bakelite and chrome are original. New gallery and professionally rewired.
Mid C20th, Australian, Art Deco, CHROME and BAKELITE SMOKER’S STAND / STANDARD LAMP
Standing on four ribbed chrome pad feet under a circular brown Bakelite base. The octagonal scalloped lower leading to reverse tapering reeded cover below the table. 360 degree swivelling chrome ashtray with Bakelite knob to ashtray cover present; matchbox holder with fan motif to the side. The Bakelite table with a ringed surface and chrome outer edge. A plain, round, chrome riser below the tapering fluted Bakelite support for the original Bakelite switch and holder. Sculptural, semi beehive glass shade marbled pink and white. The table 44 cm diameter; 52 cm over ashtray. Height to upper edge of gallery 147cm, total height with this shade 170cm. Minor scuff marks to Bakelite; the slightest of pits to the chrome. All Bakelite and chrome are original. New gallery and professionally rewired.
Mid C20th, Australian, Art Deco, CHROME and BAKELITE SMOKER’S STAND / STANDARD LAMP
Standing on four ribbed chrome pad feet under a circular brown Bakelite base. The octagonal scalloped lower leading to reverse tapering reeded cover below the table. 360 degree swivelling chrome ashtray with Bakelite knob to ashtray cover present; matchbox holder with fan motif to the side. The Bakelite table with a ringed surface and chrome outer edge. A plain, round, chrome riser below the tapering fluted Bakelite support for the original Bakelite switch and holder. Sculptural, semi beehive glass shade marbled pink and white. The table 44 cm diameter; 52 cm over ashtray. Height to upper edge of gallery 147cm, total height with this shade 170cm. Minor scuff marks to Bakelite; the slightest of pits to the chrome. All Bakelite and chrome are original. New gallery and professionally rewired.
Mid C20th, Australian, Art Deco, CHROME and BAKELITE SMOKER’S STAND / STANDARD LAMPVintage Bakelite Switch
Standing on four ribbed chrome pad feet under a circular brown Bakelite base. The octagonal scalloped lower leading to reverse tapering reeded cover below the table. 360 degree swivelling chrome ashtray with Bakelite knob to ashtray cover present; matchbox holder with fan motif to the side. The Bakelite table with a ringed surface and chrome outer edge. A plain, round, chrome riser below the tapering fluted Bakelite support for the original Bakelite switch and holder. Sculptural, semi beehive glass shade marbled pink and white. The table 44 cm diameter; 52 cm over ashtray. Height to upper edge of gallery 147cm, total height with this shade 170cm. Minor scuff marks to Bakelite; the slightest of pits to the chrome. All Bakelite and chrome are original. New gallery and professionally rewired.
Cold Painted Spelter Statues by Charles H. Valton
Pair of 19th century, Orientalist, cold painted Spelter statues of Arabs on Camels led by attendants on foot by the renowned animal sculptor Charles H. Valton; born 1851 Pau, France; died 1918 Chinon, France. A student of both Antoine Louis Barye and Emmanuel Fremiet, Valton studied at the famous Paris zoological garden, "Jardin des Plantes". He made his debut at the Paris Salon in 1868.In 1875, he became a member of the Society of French Artists. He received medals for his sculpture in 1875, 1885, as well as at the Exposition Universelle of 1889 and 1900. In 1883, he became a Professor of Sculpture at the Germain Pilon School. In 1906, Valton received the Cross of the Légion d'honneur.
By 1914, over seventy of his models had been exhibited at the Salon.
On rectangular naturalistic moulded bases and elevated on timber plinths, the polychrome decoration a little faded and dusty. Signature to base C H VALTON. One Camel is without its tail. Dimensions 35 cm height x 32 cm long.
Cold Painted Spelter Statues by Charles H. Valton
Pair of 19th century, Orientalist, cold painted Spelter statues of Arabs on Camels led by attendants on foot by the renowned animal sculptor Charles H. Valton; born 1851 Pau, France; died 1918 Chinon, France. A student of both Antoine Louis Barye and Emmanuel Fremiet, Valton studied at the famous Paris zoological garden, "Jardin des Plantes". He made his debut at the Paris Salon in 1868.In 1875, he became a member of the Society of French Artists. He received medals for his sculpture in 1875, 1885, as well as at the Exposition Universelle of 1889 and 1900. In 1883, he became a Professor of Sculpture at the Germain Pilon School. In 1906, Valton received the Cross of the Légion d'honneur.
By 1914, over seventy of his models had been exhibited at the Salon.
On rectangular naturalistic moulded bases and elevated on timber plinths, the polychrome decoration a little faded and dusty. Signature to base C H VALTON. One Camel is without its tail. Dimensions 35 cm height x 32 cm long.
Cold Painted Spelter Statues by Charles H. Valton
Pair of 19th century, Orientalist, cold painted Spelter statues of Arabs on Camels led by attendants on foot by the renowned animal sculptor Charles H. Valton; born 1851 Pau, France; died 1918 Chinon, France. A student of both Antoine Louis Barye and Emmanuel Fremiet, Valton studied at the famous Paris zoological garden, "Jardin des Plantes". He made his debut at the Paris Salon in 1868.In 1875, he became a member of the Society of French Artists. He received medals for his sculpture in 1875, 1885, as well as at the Exposition Universelle of 1889 and 1900. In 1883, he became a Professor of Sculpture at the Germain Pilon School. In 1906, Valton received the Cross of the Légion d'honneur.
By 1914, over seventy of his models had been exhibited at the Salon.
On rectangular naturalistic moulded bases and elevated on timber plinths, the polychrome decoration a little faded and dusty. Signature to base C H VALTON. One Camel is without its tail. Dimensions 35 cm height x 32 cm long.
Cold Painted Spelter Statues by Charles H. Valton
Pair of 19th century, Orientalist, cold painted Spelter statues of Arabs on Camels led by attendants on foot by the renowned animal sculptor Charles H. Valton; born 1851 Pau, France; died 1918 Chinon, France. A student of both Antoine Louis Barye and Emmanuel Fremiet, Valton studied at the famous Paris zoological garden, "Jardin des Plantes". He made his debut at the Paris Salon in 1868.In 1875, he became a member of the Society of French Artists. He received medals for his sculpture in 1875, 1885, as well as at the Exposition Universelle of 1889 and 1900. In 1883, he became a Professor of Sculpture at the Germain Pilon School. In 1906, Valton received the Cross of the Légion d'honneur.
By 1914, over seventy of his models had been exhibited at the Salon.
On rectangular naturalistic moulded bases and elevated on timber plinths, the polychrome decoration a little faded and dusty. Signature to base C H VALTON. One Camel is without its tail. Dimensions 35 cm height x 32 cm long.
Cold Painted Spelter Statues by Charles H. Valton
Pair of 19th century, Orientalist, cold painted Spelter statues of Arabs on Camels led by attendants on foot by the renowned animal sculptor Charles H. Valton; born 1851 Pau, France; died 1918 Chinon, France. A student of both Antoine Louis Barye and Emmanuel Fremiet, Valton studied at the famous Paris zoological garden, "Jardin des Plantes". He made his debut at the Paris Salon in 1868.In 1875, he became a member of the Society of French Artists. He received medals for his sculpture in 1875, 1885, as well as at the Exposition Universelle of 1889 and 1900. In 1883, he became a Professor of Sculpture at the Germain Pilon School. In 1906, Valton received the Cross of the Légion d'honneur.
By 1914, over seventy of his models had been exhibited at the Salon.
On rectangular naturalistic moulded bases and elevated on timber plinths, the polychrome decoration a little faded and dusty. Signature to base C H VALTON. One Camel is without its tail. Dimensions 35 cm height x 32 cm long.
19th Century Cedar Dentist Stand
Late 19th century, probably Australian due to the use of Australian cedar, dentist’s instrument stand. The square, Australian cedar carcass top has four small drawers to one side and a large single drawer to the opposite side, all with small, turned, nickel plated pulls. Bevelled edge mirrors are set into the other two sides. The work surface is an inset, removable, clear glass plate. The base of polished and nickel-plated brass which is standing on a four branch, heavy support allows for vertical adjustment to the top. The swing arm with arched support attached under the top allows rotation and horizontal positioning. Knurled brass knobs allow the top to be stabilised into the desired position. The side with the single drawer has an unidentified, impressed SWS in the drawer’s top front edge. The top is about 35cm square; 83cm is the lowest height from floor to table top and it elevates to about 120cm.
19th Century Cedar Dentist Stand
Late 19th century, probably Australian due to the use of Australian cedar, dentist’s instrument stand. The square, Australian cedar carcass top has four small drawers to one side and a large single drawer to the opposite side, all with small, turned, nickel plated pulls. Bevelled edge mirrors are set into the other two sides. The work surface is an inset, removable, clear glass plate. The base of polished and nickel-plated brass which is standing on a four branch, heavy support allows for vertical adjustment to the top. The swing arm with arched support attached under the top allows rotation and horizontal positioning. Knurled brass knobs allow the top to be stabilised into the desired position. The side with the single drawer has an unidentified, impressed SWS in the drawer’s top front edge. The top is about 35cm square; 83cm is the lowest height from floor to table top and it elevates to about 120cm.
19th Century Cedar Dentist Stand: Marking
Late 19th century, probably Australian due to the use of Australian cedar, dentist’s instrument stand. The square, Australian cedar carcass top has four small drawers to one side and a large single drawer to the opposite side, all with small, turned, nickel plated pulls. Bevelled edge mirrors are set into the other two sides. The work surface is an inset, removable, clear glass plate. The base of polished and nickel-plated brass which is standing on a four branch, heavy support allows for vertical adjustment to the top. The swing arm with arched support attached under the top allows rotation and horizontal positioning. Knurled brass knobs allow the top to be stabilised into the desired position. The side with the single drawer has an unidentified, impressed SWS in the drawer’s top front edge. The top is about 35cm square; 83cm is the lowest height from floor to table top and it elevates to about 120cm.
19th Century Cedar Dentist Stand
Late 19th century, probably Australian due to the use of Australian cedar, dentist’s instrument stand. The square, Australian cedar carcass top has four small drawers to one side and a large single drawer to the opposite side, all with small, turned, nickel plated pulls. Bevelled edge mirrors are set into the other two sides. The work surface is an inset, removable, clear glass plate. The base of polished and nickel-plated brass which is standing on a four branch, heavy support allows for vertical adjustment to the top. The swing arm with arched support attached under the top allows rotation and horizontal positioning. Knurled brass knobs allow the top to be stabilised into the desired position. The side with the single drawer has an unidentified, impressed SWS in the drawer’s top front edge. The top is about 35cm square; 83cm is the lowest height from floor to table top and it elevates to about 120cm.
19th Century Cedar Dentist Stand: Drawers
Late 19th century, probably Australian due to the use of Australian cedar, dentist’s instrument stand. The square, Australian cedar carcass top has four small drawers to one side and a large single drawer to the opposite side, all with small, turned, nickel plated pulls. Bevelled edge mirrors are set into the other two sides. The work surface is an inset, removable, clear glass plate. The base of polished and nickel-plated brass which is standing on a four branch, heavy support allows for vertical adjustment to the top. The swing arm with arched support attached under the top allows rotation and horizontal positioning. Knurled brass knobs allow the top to be stabilised into the desired position. The side with the single drawer has an unidentified, impressed SWS in the drawer’s top front edge. The top is about 35cm square; 83cm is the lowest height from floor to table top and it elevates to about 120cm.
Cairo or Mameluke Ware Brass Tray with Six Cups: tray
Cairo or Mameluke Ware Brass Tray and six accompanying Cups. The tray is possibly from the 1800s and the cups from the first half of the 1900s.
The tray is 38 cm diameter including the 3.5 cm rim and weighs 1.9 kg.
The rim and concave interior have intricate, symmetrical, engraved and applied decorations in copper and [tarnished] silver with geometric shapes and patterns and arabesques, circular medallions containing floral and arabesque designs, a star polygon and Kufic script.
The tray is accompanied by six brass cups with plain insides, a low foot ring, all of similar size but different weights and quality of execution.
They are circa 11 cm diameter and 5 to 5.5 cm high. Again the decorations to the outsides are engraved and applied copper and silver and include motifs from the Egyptian Pharaonic period, Islamic and Arabic symbolism. This style of metal work originated and can still be found across the Middle East from Egypt to Syria and has been made intermittently from the early 1200s until today.
We suspect the calligraphy might be quotations from the Quran. These items were collected by British expats living in the Yemen between the wars.
Cairo or Mameluke Ware Brass Tray with Six Cups: cup
Cairo or Mameluke Ware Brass Tray and six accompanying Cups. The tray is possibly from the 1800s and the cups from the first half of the 1900s.
The tray is 38 cm diameter including the 3.5 cm rim and weighs 1.9 kg.
The rim and concave interior have intricate, symmetrical, engraved and applied decorations in copper and [tarnished] silver with geometric shapes and patterns and arabesques, circular medallions containing floral and arabesque designs, a star polygon and Kufic script.
The tray is accompanied by six brass cups with plain insides, a low foot ring, all of similar size but different weights and quality of execution.
They are circa 11 cm diameter and 5 to 5.5 cm high. Again the decorations to the outsides are engraved and applied copper and silver and include motifs from the Egyptian Pharaonic period, Islamic and Arabic symbolism. This style of metal work originated and can still be found across the Middle East from Egypt to Syria and has been made intermittently from the early 1200s until today.
We suspect the calligraphy might be quotations from the Quran. These items were collected by British expats living in the Yemen between the wars.
Cairo or Mameluke Ware Brass Tray with Six Cups: cup
Cairo or Mameluke Ware Brass Tray and six accompanying Cups. The tray is possibly from the 1800s and the cups from the first half of the 1900s.
The tray is 38 cm diameter including the 3.5 cm rim and weighs 1.9 kg.
The rim and concave interior have intricate, symmetrical, engraved and applied decorations in copper and [tarnished] silver with geometric shapes and patterns and arabesques, circular medallions containing floral and arabesque designs, a star polygon and Kufic script.
The tray is accompanied by six brass cups with plain insides, a low foot ring, all of similar size but different weights and quality of execution.
They are circa 11 cm diameter and 5 to 5.5 cm high. Again the decorations to the outsides are engraved and applied copper and silver and include motifs from the Egyptian Pharaonic period, Islamic and Arabic symbolism. This style of metal work originated and can still be found across the Middle East from Egypt to Syria and has been made intermittently from the early 1200s until today.
We suspect the calligraphy might be quotations from the Quran. These items were collected by British expats living in the Yemen between the wars.
Cairo or Mameluke Ware Brass Tray with Six Cups: cup
Cairo or Mameluke Ware Brass Tray and six accompanying Cups. The tray is possibly from the 1800s and the cups from the first half of the 1900s.
The tray is 38 cm diameter including the 3.5 cm rim and weighs 1.9 kg.
The rim and concave interior have intricate, symmetrical, engraved and applied decorations in copper and [tarnished] silver with geometric shapes and patterns and arabesques, circular medallions containing floral and arabesque designs, a star polygon and Kufic script.
The tray is accompanied by six brass cups with plain insides, a low foot ring, all of similar size but different weights and quality of execution.
They are circa 11 cm diameter and 5 to 5.5 cm high. Again the decorations to the outsides are engraved and applied copper and silver and include motifs from the Egyptian Pharaonic period, Islamic and Arabic symbolism. This style of metal work originated and can still be found across the Middle East from Egypt to Syria and has been made intermittently from the early 1200s until today.
We suspect the calligraphy might be quotations from the Quran. These items were collected by British expats living in the Yemen between the wars.
Tortoiseshell Brooch: Cambridgeshire Regt
A small group of World War Two Sweetheart Items.
A circular, Hallmarked Sterling Silver for C & A (Collet & Anderson) London, 1939 and Tortoiseshell Brooch (circa 28mm diameter) inset with the Cambridgeshire triple towers centrally, a Laurel wreath below and a ribbon engraved with “THE CAMBRIDGESHIRE REGT” above, all in Sterling Silver.
The Cambridgeshire regiment was a British Army regiment active from 1908 to 1961.
It had a Territorial battalion which in Australian terms is the Army Reserve.
It was an infantry regiment and saw active service in the Battle of the Somme and the Fall of Singapore.
In 1938, a 16 year old Harrogate Ladies College student was spending the Christmas holidays with her family at a hotel in the town.
She met a very nice young man who danced divinely and treated her like an adult not a school girl.
He was however already a qualified lawyer and 26 years old so they agreed to correspond as friends while she finished her schooling.
He was also a member of the territorial battalion of the Cambridgeshire regiment.
When war broke out in September 1939 he was instantly in the Army and spent a couple of years travelling around the country completing courses associated with active military service.
He was sent overseas in late 1941 and letters from him continued to arrive from the troopship until about the time of the Fall of Singapore when she received a telegram saying he was ”missing, believed killed” then all her letters to him were returned to her marked “undeliverable”.
She later married a naval officer who was in the battleship Nelson in the East Indies Fleet when the atomic bombs were dropped on Japan.
The Nelson sailed to Singapore to accept the surrender of the Japanese and by a thousand to one chance her husband met an ex POW who had seen his wife’s friend shot and had helped to bury him.
Powder Compact: The Cambridgeshire Regt
A small group of World War Two Sweetheart Items.
A gold tone metal, engine turned and striped Powder Compact (circa 66mm square) with an applied “THE CAMBRIDGESHIRE REGT” badge.
A gold tone metal, engine turned and striped Powder Compact (circa 66mm square) with an applied “THE CAMBRIDGESHIRE REGT” badge.
A gold tone metal, engine turned and striped Powder Compact (circa 66mm square) with an applied “THE CAMBRIDGESHIRE REGT” badge.
A gold tone metal, engine turned and striped Powder Compact (circa 66mm square) with an applied “THE CAMBRIDGESHIRE REGT” badge.
The Cambridgeshire regiment was a British Army regiment active from 1908 to 1961.
It had a Territorial battalion which in Australian terms is the Army Reserve.
It was an infantry regiment and saw active service in the Battle of the Somme and the Fall of Singapore.
In 1938, a 16 year old Harrogate Ladies College student was spending the Christmas holidays with her family at a hotel in the town.
She met a very nice young man who danced divinely and treated her like an adult not a school girl.
He was however already a qualified lawyer and 26 years old so they agreed to correspond as friends while she finished her schooling.
He was also a member of the territorial battalion of the Cambridgeshire regiment.
When war broke out in September 1939 he was instantly in the Army and spent a couple of years travelling around the country completing courses associated with active military service.
He was sent overseas in late 1941 and letters from him continued to arrive from the troopship until about the time of the Fall of Singapore when she received a telegram saying he was ”missing, believed killed” then all her letters to him were returned to her marked “undeliverable”.
She later married a naval officer who was in the battleship Nelson in the East Indies Fleet when the atomic bombs were dropped on Japan.
The Nelson sailed to Singapore to accept the surrender of the Japanese and by a thousand to one chance her husband met an ex POW who had seen his wife’s friend shot and had helped to bury him.
Soviet Unmanned Missions Medal
This early Soviet propaganda table medal commemorates the launch of the first artificial Earth satellite on 4th October 1957. The inscription on the front of the medal reads “Glory to the Soviet Science”. SPUTNIK 1 was the first of three satellites launched between October 1957 and May 1958. It went into an elliptical, low Earth orbit and orbited for three weeks before its batteries died. It then continued on silently for two months before it fell back into the Earth’s atmosphere
Made of solid bronze, this 55mm diameter medal weighs 137grams. One knowledgeable source believes there were only 645 ever made.
Soviet Unmanned Missions Medal
This early Soviet propaganda table medal commemorates the launch of the first artificial Earth satellite on 4th October 1957. The inscription on the front of the medal reads “Glory to the Soviet Science”. SPUTNIK 1 was the first of three satellites launched between October 1957 and May 1958. It went into an elliptical, low Earth orbit and orbited for three weeks before its batteries died. It then continued on silently for two months before it fell back into the Earth’s atmosphere
Made of solid bronze, this 55mm diameter medal weighs 137grams. One knowledgeable source believes there were only 645 ever made.
Kigu of London Compact: monogram to powder pad and edged sifter
Retro Chic is a 1950s Kigu of London “Bouquet” Compact designed and made in England by a firm established in 1939 by Hungarian George Kiashek.
The brass plated finish is decorated with guilloche engine turned patterns; the Lucite used for floral displays on the lid is mounted on a silver tin foil background and encased in Lucite for protection.
This example appears to be in un-used condition as do the original sifter and monogramed powder pad.
Originating in the early 1900s, compacts became increasingly popular among post WW II women.
Kigu of London "Bouquet" Compact: Lucite floral decoration
Retro Chic is a 1950s Kigu of London “Bouquet” Compact designed and made in England by a firm established in 1939 by Hungarian George Kiashek.
The brass plated finish is decorated with guilloche engine turned patterns; the Lucite used for floral displays on the lid is mounted on a silver tin foil background and encased in Lucite for protection.
This example appears to be in un-used condition as do the original sifter and monogramed powder pad.
Originating in the early 1900s, compacts became increasingly popular among post WW II women.
Kigu of London "Bouquet" Compact: Marks
Retro Chic is a 1950s Kigu of London “Bouquet” Compact designed and made in England by a firm established in 1939 by Hungarian George Kiashek.
The brass plated finish is decorated with guilloche engine turned patterns; the Lucite used for floral displays on the lid is mounted on a silver tin foil background and encased in Lucite for protection.
This example appears to be in un-used condition as do the original sifter and monogramed powder pad.
Originating in the early 1900s, compacts became increasingly popular among post WW II women.
Kigu of London "Bouquet" Compact
Retro Chic is a 1950s Kigu of London “Bouquet” Compact designed and made in England by a firm established in 1939 by Hungarian George Kiashek.
The brass plated finish is decorated with guilloche engine turned patterns; the Lucite used for floral displays on the lid is mounted on a silver tin foil background and encased in Lucite for protection.
This example appears to be in un-used condition as do the original sifter and monogramed powder pad.
Originating in the early 1900s, compacts became increasingly popular among post WW II women.
Fire Dogs or Andirons with Brass Covered Finials
A pair of C19th, Fire Dogs or Andirons with brass covered vase finials and out swept pad feet.The supports of wrought iron and good quality solid casting .
Possibly French.
Andirons with Fire Tools
A set of three, C19th, English, bright cut steel, Fire Tools comprising poker, tongs and shovel with pierced tray.
Coal Scuttle with Victorian Decoration
Late C19th, English, brass coal scuttle with typical Victorian era repousse decoration to lift up front which allows access to the removable tin liner for carrying the coal.
Turned wood feet and handles to the scuttle and the shovel in its own bracket to rear.
Octagonal Kindling Box
Late C19th, English, octagonal fronted pine Kindling Box with brass outer cover showing repousse decoration featuring sailing ships.
On steel castors.
Fire Tools
Late C19th, English or perhaps Colonial, Fire Bellows consisting of wooden handled plates to open and shut the leather bag and expel air through the metal nozzle.
Fire Tools
Late C19th, English or perhaps Colonial, Fire Bellows consisting of wooden handled plates to open and shut the leather bag and expel air through the metal nozzle.
Glass Hip Flask with Patented Bayonet Twist Lock: Hallmarks
Glass Hip Flask with patented Sterling Silver bayonet twist lock to top and corresponding Sterling Silver slip cup to lower. The remainder of the glass covered with Crocodile leather incorporating a pair of elongated “portholes” to check the level of the contents. Hallmarks for G & J W Hawksley, Sheffield, 1906. 14.5 cm high.
Glass Hip Flask with Patented Bayonet Twist Lock
Glass Hip Flask with patented Sterling Silver bayonet twist lock to top and corresponding Sterling Silver slip cup to lower. The remainder of the glass covered with Crocodile leather incorporating a pair of elongated “portholes” to check the level of the contents. Hallmarks for G & J W Hawksley, Sheffield, 1906. 14.5 cm high.
Glass Hip Flask with Patented Bayonet Twist Lock
Glass Hip Flask with patented Sterling Silver bayonet twist lock to top and corresponding Sterling Silver slip cup to lower. The remainder of the glass covered with Crocodile leather incorporating a pair of elongated “portholes” to check the level of the contents. Hallmarks for G & J W Hawksley, Sheffield, 1906. 14.5 cm high.
Glass Hip Flask with Patented Bayonet Twist Lock
Glass Hip Flask with patented Sterling Silver bayonet twist lock to top and corresponding Sterling Silver slip cup to lower. The remainder of the glass covered with Crocodile leather incorporating a pair of elongated “portholes” to check the level of the contents. Hallmarks for G & J W Hawksley, Sheffield, 1906. 14.5 cm high.
Vintage Luggage
A range of vintage luggage, everyday work bags and a vanity case from Collectorium’s store. From the days when ships were the only option to travel from Australia to UK and Europe are two large, full hide leather cases with their owner and destinations marked by hand.There are remains of some interesting labels including an early Qantas one which is still in very good condition.
Vintage Luggage Label: Qantas
A range of vintage luggage, everyday work bags and a vanity case from Collectorium’s store. From the days when ships were the only option to travel from Australia to UK and Europe are two large, full hide leather cases with their owner and destinations marked by hand.There are remains of some interesting labels including an early Qantas one which is still in very good condition.
Vintage Luggage Label: Aeropak
A range of vintage luggage, everyday work bags and a vanity case from Collectorium’s store. From the days when ships were the only option to travel from Australia to UK and Europe are two large, full hide leather cases with their owner and destinations marked by hand.There are remains of some interesting labels including an early Qantas one which is still in very good condition.
Vintage Luggage Inspection Label
A range of vintage luggage, everyday work bags and a vanity case from Collectorium’s store. From the days when ships were the only option to travel from Australia to UK and Europe are two large, full hide leather cases with their owner and destinations marked by hand.There are remains of some interesting labels including an early Qantas one which is still in very good condition.
Vintage Luggage: Aeropak
A range of vintage luggage, everyday work bags and a vanity case from Collectorium’s store. From the days when ships were the only option to travel from Australia to UK and Europe are two large, full hide leather cases with their owner and destinations marked by hand.There are remains of some interesting labels including an early Qantas one which is still in very good condition.
Vintage Luggage Label
A range of vintage luggage, everyday work bags and a vanity case from Collectorium’s store. From the days when ships were the only option to travel from Australia to UK and Europe are two large, full hide leather cases with their owner and destinations marked by hand.There are remains of some interesting labels including an early Qantas one which is still in very good condition.
Vintage Luggage Label: Grand Hotel
A range of vintage luggage, everyday work bags and a vanity case from Collectorium’s store. From the days when ships were the only option to travel from Australia to UK and Europe are two large, full hide leather cases with their owner and destinations marked by hand.There are remains of some interesting labels including an early Qantas one which is still in very good condition.
Vintage Luggage
A range of vintage luggage, everyday work bags and a vanity case from Collectorium’s store. From the days when ships were the only option to travel from Australia to UK and Europe are two large, full hide leather cases with their owner and destinations marked by hand.There are remains of some interesting labels including an early Qantas one which is still in very good condition.
Vintage Luggage
A range of vintage luggage, everyday work bags and a vanity case from Collectorium’s store. From the days when ships were the only option to travel from Australia to UK and Europe are two large, full hide leather cases with their owner and destinations marked by hand.There are remains of some interesting labels including an early Qantas one which is still in very good condition.
Vintage Luggage: writing
A range of vintage luggage, everyday work bags and a vanity case from Collectorium’s store. From the days when ships were the only option to travel from Australia to UK and Europe are two large, full hide leather cases with their owner and destinations marked by hand.There are remains of some interesting labels including an early Qantas one which is still in very good condition.
The United Kingdom Bartenders’ Guild “Guide to Drinks” 3rd Edition 1960
A limited publication of 17,500 copies in three editions 1953, 1955 and 1960 by the Guild which had formed in 1933.
The guide contains an extensive collection of cocktail recipes and handy hints including a list of prize winning cocktail recipes from 1934 to 1959 interspersed throughout with black and white period advertisements and some clever sketches.
Everything possible to know on the subject and more you never dreamt existed.
Hardback with green cloth cover; slight wear to lower right cover front and back otherwise obviously never used as the reference it was intended to be. 7"(18cm) x 5" (12.5 cm)
A couple of recipes particularly caught our attention.
Under “Pick-Me-Ups”
Prairie Hen
Pour into a small Wine glass
2 dashes of Vinegar
1 teaspoon Worcester sauce
a whole egg
2 dashes of Tabasco sauce
little salt and pepper
Do not break the Egg.
Under “Medicinal”
Strong black coffee with a few drops of aromatic spirits of ammonia will quickly dissipate alcohol fumes.
The United Kingdom Bartenders’ Guild “Guide to Drinks” 3rd Edition 1960
A limited publication of 17,500 copies in three editions 1953, 1955 and 1960 by the Guild which had formed in 1933.
The guide contains an extensive collection of cocktail recipes and handy hints including a list of prize winning cocktail recipes from 1934 to 1959 interspersed throughout with black and white period advertisements and some clever sketches.
Everything possible to know on the subject and more you never dreamt existed.
Hardback with green cloth cover; slight wear to lower right cover front and back otherwise obviously never used as the reference it was intended to be. 7"(18cm) x 5" (12.5 cm)
A couple of recipes particularly caught our attention.
Under “Pick-Me-Ups”
Prairie Hen
Pour into a small Wine glass
2 dashes of Vinegar
1 teaspoon Worcester sauce
a whole egg
2 dashes of Tabasco sauce
little salt and pepper
Do not break the Egg.
Under “Medicinal”
Strong black coffee with a few drops of aromatic spirits of ammonia will quickly dissipate alcohol fumes.
The United Kingdom Bartenders’ Guild “Guide to Drinks” 3rd Edition 1960
A limited publication of 17,500 copies in three editions 1953, 1955 and 1960 by the Guild which had formed in 1933.
The guide contains an extensive collection of cocktail recipes and handy hints including a list of prize winning cocktail recipes from 1934 to 1959 interspersed throughout with black and white period advertisements and some clever sketches.
Everything possible to know on the subject and more you never dreamt existed.
Hardback with green cloth cover; slight wear to lower right cover front and back otherwise obviously never used as the reference it was intended to be. 7"(18cm) x 5" (12.5 cm)
A couple of recipes particularly caught our attention.
Under “Pick-Me-Ups”
Prairie Hen
Pour into a small Wine glass
2 dashes of Vinegar
1 teaspoon Worcester sauce
a whole egg
2 dashes of Tabasco sauce
little salt and pepper
Do not break the Egg.
Under “Medicinal”
Strong black coffee with a few drops of aromatic spirits of ammonia will quickly dissipate alcohol fumes.
The United Kingdom Bartenders’ Guild “Guide to Drinks” 3rd Edition 1960
A limited publication of 17,500 copies in three editions 1953, 1955 and 1960 by the Guild which had formed in 1933.
The guide contains an extensive collection of cocktail recipes and handy hints including a list of prize winning cocktail recipes from 1934 to 1959 interspersed throughout with black and white period advertisements and some clever sketches.
Everything possible to know on the subject and more you never dreamt existed.
Hardback with green cloth cover; slight wear to lower right cover front and back otherwise obviously never used as the reference it was intended to be. 7"(18cm) x 5" (12.5 cm)
A couple of recipes particularly caught our attention.
Under “Pick-Me-Ups”
Prairie Hen
Pour into a small Wine glass
2 dashes of Vinegar
1 teaspoon Worcester sauce
a whole egg
2 dashes of Tabasco sauce
little salt and pepper
Do not break the Egg.
Under “Medicinal”
Strong black coffee with a few drops of aromatic spirits of ammonia will quickly dissipate alcohol fumes.
Russian Birchwood Box
Nineteenth century, Russian, circular Birchwood Box with hand painted winter scene on the lid. Dimensions 8 cm high, 12 cm diameter.
Russian Birchwood Box: lid
Nineteenth century, Russian, circular Birchwood Box with hand painted winter scene on the lid. Dimensions 8 cm high, 12 cm diameter.
Collectorium's tribute to ANZAC DAY 2020
The First Convoy by Charles Bryant
On the 1st November 1914, 10 troop transports from New Zealand and 26 from the Eastern States of the Commonwealth set sail from King George’s Sound in Western Australia bound for the Middle East to their final destination Egypt.
The Final Tribute by Louis McCubbin
The Australian destroyers Yarra, Torrens and Parramatta were given permission to fly their largest Commonwealth Blue Ensigns as a salute to fallen ANZACS while proceeding with an Allied fleet through the Dardanelles on the day after the signing of the Armistice.
The Digger by Charles Wheeler
Quote from a British officer about Australian soldiers “The bravest thing God ever made”.
The Australian through Enemy Eyes by Max Bruning
This etching was made in 1916 during the Battle of the Somme by a German artist serving with the 6th Bavarian Reserve Division.
The Drover by G C Benson
Before joining the AIF, a large proportion of the men of the light horse regiments had lived on stations and farms where driving sheep or cattle is a regular occurrence. The habit of trailing on horseback behind a flock or herd was far too deeply ingrained even under the changed conditions of active service. When detailed to take a party of prisoners to the rear, the light horseman instinctively “drove” them.
Bronze Vase Kayser Germany: mark
Late 1800s, Kayser, Germany, planished and patinated; tapered bronze vase with applied leaf and flower band to neck; rolled over rim; 25 cm tall.
Bronze Vase Kayser Germany
Late 1800s, Kayser, Germany, planished and patinated; tapered bronze vase with applied leaf and flower band to neck; rolled over rim; 25 cm tall.
Copper Jelly Mould
C19th, English, copper jelly mould shaped as crenulated castle; original patina; 9.5 cm tall.
Wine Goblets by Don Shiel
Set of eight long stemmed wine goblets designed and handmade in 1976 by Don Sheil of Melbourne in an aluminium alloy which does not discolour with wine and other fluids / foods; 22.5 cm tall.
Wine Goblets by Don Shiel: mark
Set of eight long stemmed wine goblets designed and handmade in 1976 by Don Sheil of Melbourne in an aluminium alloy which does not discolour with wine and other fluids / foods; 22.5 cm tall.
Copper Jelly Mould: marking
C19th, English, copper jelly mould shaped as crenulated castle; original patina; 9.5 cm tall.
Australian Federation Era Hall Lantern: ceiling cap
The weathered, oxidised, metal frame holding various patterns of textured clear and green glass with purple glass to the top behind the applied flower shaped cut out mask. All four sides alike. The whole a square with shaped and profiled suspension. Original ceiling cap present. The rod which transported the power with threaded lower end providing no definite indication if it was originally gas or electric. Original patina.
55cm / 22” from ceiling cap to bottom; 25cm / 10” at the widest of the square frame.
Australian Federation Era Hall Lantern
The weathered, oxidised, metal frame holding various patterns of textured clear and green glass with purple glass to the top behind the applied flower shaped cut out mask. All four sides alike. The whole a square with shaped and profiled suspension. Original ceiling cap present. The rod which transported the power with threaded lower end providing no definite indication if it was originally gas or electric. Original patina.
55cm / 22” from ceiling cap to bottom; 25cm / 10” at the widest of the square frame.
Australian Federation Era Hall Lantern
The weathered, oxidised, metal frame holding various patterns of textured clear and green glass with purple glass to the top behind the applied flower shaped cut out mask. All four sides alike. The whole a square with shaped and profiled suspension. Original ceiling cap present. The rod which transported the power with threaded lower end providing no definite indication if it was originally gas or electric. Original patina.
55cm / 22” from ceiling cap to bottom; 25cm / 10” at the widest of the square frame.
English Pewter Tea Set: Pot
English Pewter 3 piece Tea Sey comprising tea pot, sugar bowl and milk jug. Marked English Pewter, 508, 3 where 508 is the model number and 3 the size. While not marked, the planished exterior surface and the untarnished state lead us to believe that these were made by James Deakin & Sons, Sheffield who used English Pewter which contains no lead and will not tarnish.
The Arts & Crafts style we would date to the late 1800s / early 1900s. J Deakin & Sons ceased operation in the early 1930s thus this would be before then but more likely pre WWI when this style and material was fashionable. After WWI through the 1920s and into the great depression fancy goods like these were not in demand.
English Pewter Tea Set
English Pewter 3 piece Tea Sey comprising tea pot, sugar bowl and milk jug. Marked English Pewter, 508, 3 where 508 is the model number and 3 the size. While not marked, the planished exterior surface and the untarnished state lead us to believe that these were made by James Deakin & Sons, Sheffield who used English Pewter which contains no lead and will not tarnish.
The Arts & Crafts style we would date to the late 1800s / early 1900s. J Deakin & Sons ceased operation in the early 1930s thus this would be before then but more likely pre WWI when this style and material was fashionable. After WWI through the 1920s and into the great depression fancy goods like these were not in demand.
English Pewter Tea Set: marking
English Pewter 3 piece Tea Sey comprising tea pot, sugar bowl and milk jug. Marked English Pewter, 508, 3 where 508 is the model number and 3 the size. While not marked, the planished exterior surface and the untarnished state lead us to believe that these were made by James Deakin & Sons, Sheffield who used English Pewter which contains no lead and will not tarnish.
The Arts & Crafts style we would date to the late 1800s / early 1900s. J Deakin & Sons ceased operation in the early 1930s thus this would be before then but more likely pre WWI when this style and material was fashionable. After WWI through the 1920s and into the great depression fancy goods like these were not in demand.
Opera Glasses by C W Dixey Opticians: open
A pair of opera / field glasses in their original leather case bearing the imprinted label for C W Dixey Opticians to the Queen 3 Bond Street London. The body is of the new metal of that time, polished Aluminium or, as it was known, “clay silver”.
Industrial production of the metal Aluminium from the ore Bauxite was first achieved by Henri-Etienne Sainte-Claire Deville in France in 1856. The produced metal resembled silver, it was light and expensive, hence at that time aluminium was considered an elite material intended for ornaments and luxury items.
The aluminium has an overlay of Tortoiseshell. Inlaid to one barrel with Silver wire is the name “Mary”. Unfortunately the Dixey archive could find no reference as to who “Mary” might have been. They could however tell us that the glasses would be pre 1860 as that was when “& Son” was added to the company name. In addition they confirmed C W Dixey was the personal optician to Queen Victoria.
These glasses are optically in excellent order. Objective lens 42 mm diameter. Ocular lens 15.5 mm diameter. Closed length 74.5 mm. Fully open length 96.5 mm. Case and body have minor, aged related, faults.
Opera Glasses by C W Dixey Opticians: makers name inside case
A pair of opera / field glasses in their original leather case bearing the imprinted label for C W Dixey Opticians to the Queen 3 Bond Street London. The body is of the new metal of that time, polished Aluminium or, as it was known, “clay silver”.
Industrial production of the metal Aluminium from the ore Bauxite was first achieved by Henri-Etienne Sainte-Claire Deville in France in 1856. The produced metal resembled silver, it was light and expensive, hence at that time aluminium was considered an elite material intended for ornaments and luxury items.
The aluminium has an overlay of Tortoiseshell. Inlaid to one barrel with Silver wire is the name “Mary”. Unfortunately the Dixey archive could find no reference as to who “Mary” might have been. They could however tell us that the glasses would be pre 1860 as that was when “& Son” was added to the company name. In addition they confirmed C W Dixey was the personal optician to Queen Victoria.
These glasses are optically in excellent order. Objective lens 42 mm diameter. Ocular lens 15.5 mm diameter. Closed length 74.5 mm. Fully open length 96.5 mm. Case and body have minor, aged related, faults.
Opera Glasses by C W Dixey Opticians: closed
A pair of opera / field glasses in their original leather case bearing the imprinted label for C W Dixey Opticians to the Queen 3 Bond Street London. The body is of the new metal of that time, polished Aluminium or, as it was known, “clay silver”.
Industrial production of the metal Aluminium from the ore Bauxite was first achieved by Henri-Etienne Sainte-Claire Deville in France in 1856. The produced metal resembled silver, it was light and expensive, hence at that time aluminium was considered an elite material intended for ornaments and luxury items.
The aluminium has an overlay of Tortoiseshell. Inlaid to one barrel with Silver wire is the name “Mary”. Unfortunately the Dixey archive could find no reference as to who “Mary” might have been. They could however tell us that the glasses would be pre 1860 as that was when “& Son” was added to the company name. In addition they confirmed C W Dixey was the personal optician to Queen Victoria.
These glasses are optically in excellent order. Objective lens 42 mm diameter. Ocular lens 15.5 mm diameter. Closed length 74.5 mm. Fully open length 96.5 mm. Case and body have minor, aged related, faults.
Coalbrookdale Cast Iron Umbrella Stand
Coalbrookdale Cast Iron Umbrella Stand in a 'Ferny' design.
The stand has a casting mark and registration lozenge dating it to circa 1870. Umpteen layers of chipped various colour paint professionally removed and powdered coated in British Racing (Heritage) Green.
Liberty & Co., Archibald Knox Tudric Pewter Cruet Set
Liberty & Co., Archibald Knox, tudric pewter 3 piece cruet set comprising pepperette, open salt & lidded mustard pot. Design #348 by Archibald Knox from the first decade of the C20th. Marked to base Tudric, 348, an Rd. number and a scratched inventory number 100. In original condition. Tallest piece 6.5cm.
Archibald Knox was born 1864, Cronkbourne, Isle of Man and died 1933, Douglas, Isle of Man. A prolific Manx designer of Scottish descent he was best known as the primary designer for Liberty’s at the height of their success. Knox used elements from the Arts and Crafts Movement, Celtic Revival, Art Nouveau and Modernism in his designs.
Liberty & Co., Archibald Knox Tudric Pewter Cruet Set: Salt
Liberty & Co., Archibald Knox, tudric pewter 3 piece cruet set comprising pepperette, open salt & lidded mustard pot. Design #348 by Archibald Knox from the first decade of the C20th. Marked to base Tudric, 348, an Rd. number and a scratched inventory number 100. In original condition. Tallest piece 6.5cm.
Archibald Knox was born 1864, Cronkbourne, Isle of Man and died 1933, Douglas, Isle of Man. A prolific Manx designer of Scottish descent he was best known as the primary designer for Liberty’s at the height of their success. Knox used elements from the Arts and Crafts Movement, Celtic Revival, Art Nouveau and Modernism in his designs.
Liberty & Co., Archibald Knox Tudric Pewter Cruet Set: Pepperette
Liberty & Co., Archibald Knox, tudric pewter 3 piece cruet set comprising pepperette, open salt & lidded mustard pot. Design #348 by Archibald Knox from the first decade of the C20th. Marked to base Tudric, 348, an Rd. number and a scratched inventory number 100. In original condition. Tallest piece 6.5cm.
Archibald Knox was born 1864, Cronkbourne, Isle of Man and died 1933, Douglas, Isle of Man. A prolific Manx designer of Scottish descent he was best known as the primary designer for Liberty’s at the height of their success. Knox used elements from the Arts and Crafts Movement, Celtic Revival, Art Nouveau and Modernism in his designs.
Liberty & Co., Archibald Knox Tudric Pewter Cruet Set: Mustard
Liberty & Co., Archibald Knox, tudric pewter 3 piece cruet set comprising pepperette, open salt & lidded mustard pot. Design #348 by Archibald Knox from the first decade of the C20th. Marked to base Tudric, 348, an Rd. number and a scratched inventory number 100. In original condition. Tallest piece 6.5cm.
Archibald Knox was born 1864, Cronkbourne, Isle of Man and died 1933, Douglas, Isle of Man. A prolific Manx designer of Scottish descent he was best known as the primary designer for Liberty’s at the height of their success. Knox used elements from the Arts and Crafts Movement, Celtic Revival, Art Nouveau and Modernism in his designs.
Liberty & Co., Archibald Knox Tudric Pewter Cruet Set: base marking
Liberty & Co., Archibald Knox, tudric pewter 3 piece cruet set comprising pepperette, open salt & lidded mustard pot. Design #348 by Archibald Knox from the first decade of the C20th. Marked to base Tudric, 348, an Rd. number and a scratched inventory number 100. In original condition. Tallest piece 6.5cm.
Archibald Knox was born 1864, Cronkbourne, Isle of Man and died 1933, Douglas, Isle of Man. A prolific Manx designer of Scottish descent he was best known as the primary designer for Liberty’s at the height of their success. Knox used elements from the Arts and Crafts Movement, Celtic Revival, Art Nouveau and Modernism in his designs.
German, 1950s, Brunsviga 13Z Mechanical Calculator
Pinwheel calculators were invented by Willgodt T. Odhner in St. Petersburg Russia in 1874. The firm Grimme, Natalis & Co of Braunschweig in Germany obtained the German manufacturing rights in 1892. The first machines were built according to W.T. Odhner's 1890 design, and were distributed under the brand name "Brunsviga".
This Model 13Z is from the 1950s and is very similar to the 1930s 13ZK as the pre WWII 13-series machines were re-styled for the 1950s with but a few changes to the mechanisms. The 13-series machines in 10 x 8 x 13 format formed the basis of the Brunsviga pinwheel range from the 1930s until the end of production in the 1970s.
This machine is serial number 294900. Digits: 10 rotor, 8 counter, 13 accumulator. Dimensions: body 150W x 220D x 165H, maximum width 290mm. Weight: 7.5 kg
German, 1950s, Brunsviga 13Z Mechanical Calculator: left hand side
Pinwheel calculators were invented by Willgodt T. Odhner in St. Petersburg Russia in 1874. The firm Grimme, Natalis & Co of Braunschweig in Germany obtained the German manufacturing rights in 1892. The first machines were built according to W.T. Odhner's 1890 design, and were distributed under the brand name "Brunsviga".
This Model 13Z is from the 1950s and is very similar to the 1930s 13ZK as the pre WWII 13-series machines were re-styled for the 1950s with but a few changes to the mechanisms. The 13-series machines in 10 x 8 x 13 format formed the basis of the Brunsviga pinwheel range from the 1930s until the end of production in the 1970s.
This machine is serial number 294900. Digits: 10 rotor, 8 counter, 13 accumulator. Dimensions: body 150W x 220D x 165H, maximum width 290mm. Weight: 7.5 kg
German, 1950s, Brunsviga 13Z Mechanical Calculator: serial number
Pinwheel calculators were invented by Willgodt T. Odhner in St. Petersburg Russia in 1874. The firm Grimme, Natalis & Co of Braunschweig in Germany obtained the German manufacturing rights in 1892. The first machines were built according to W.T. Odhner's 1890 design, and were distributed under the brand name "Brunsviga".
This Model 13Z is from the 1950s and is very similar to the 1930s 13ZK as the pre WWII 13-series machines were re-styled for the 1950s with but a few changes to the mechanisms. The 13-series machines in 10 x 8 x 13 format formed the basis of the Brunsviga pinwheel range from the 1930s until the end of production in the 1970s.
This machine is serial number 294900. Digits: 10 rotor, 8 counter, 13 accumulator. Dimensions: body 150W x 220D x 165H, maximum width 290mm. Weight: 7.5 kg
German, 1950s, Brunsviga 13Z Mechanical Calculator: name plate
Pinwheel calculators were invented by Willgodt T. Odhner in St. Petersburg Russia in 1874. The firm Grimme, Natalis & Co of Braunschweig in Germany obtained the German manufacturing rights in 1892. The first machines were built according to W.T. Odhner's 1890 design, and were distributed under the brand name "Brunsviga".
This Model 13Z is from the 1950s and is very similar to the 1930s 13ZK as the pre WWII 13-series machines were re-styled for the 1950s with but a few changes to the mechanisms. The 13-series machines in 10 x 8 x 13 format formed the basis of the Brunsviga pinwheel range from the 1930s until the end of production in the 1970s.
This machine is serial number 294900. Digits: 10 rotor, 8 counter, 13 accumulator. Dimensions: body 150W x 220D x 165H, maximum width 290mm. Weight: 7.5 kg
German, 1950s, Brunsviga 13Z Mechanical Calculator: right hand side
Pinwheel calculators were invented by Willgodt T. Odhner in St. Petersburg Russia in 1874. The firm Grimme, Natalis & Co of Braunschweig in Germany obtained the German manufacturing rights in 1892. The first machines were built according to W.T. Odhner's 1890 design, and were distributed under the brand name "Brunsviga".
This Model 13Z is from the 1950s and is very similar to the 1930s 13ZK as the pre WWII 13-series machines were re-styled for the 1950s with but a few changes to the mechanisms. The 13-series machines in 10 x 8 x 13 format formed the basis of the Brunsviga pinwheel range from the 1930s until the end of production in the 1970s.
This machine is serial number 294900. Digits: 10 rotor, 8 counter, 13 accumulator. Dimensions: body 150W x 220D x 165H, maximum width 290mm. Weight: 7.5 kg
German, 1950s, Brunsviga 13Z Mechanical Calculator: above
Pinwheel calculators were invented by Willgodt T. Odhner in St. Petersburg Russia in 1874. The firm Grimme, Natalis & Co of Braunschweig in Germany obtained the German manufacturing rights in 1892. The first machines were built according to W.T. Odhner's 1890 design, and were distributed under the brand name "Brunsviga".
This Model 13Z is from the 1950s and is very similar to the 1930s 13ZK as the pre WWII 13-series machines were re-styled for the 1950s with but a few changes to the mechanisms. The 13-series machines in 10 x 8 x 13 format formed the basis of the Brunsviga pinwheel range from the 1930s until the end of production in the 1970s.
This machine is serial number 294900. Digits: 10 rotor, 8 counter, 13 accumulator. Dimensions: body 150W x 220D x 165H, maximum width 290mm. Weight: 7.5 kg
The Royal Van Heurck Microscope: cabinet
The Royal Van Heurck Microscope by W Watson & Sons with monocular tube and continental base, c1897, probably C model.
1 x Leitz Wetzlar eyepiece,1 x unmarked 8x eyepiece, three W Watson & Sons lenses all in their original brass screw top containers marked W Watson & Sons.
1 x 1/12 inch oil 1mm lens, 1 x parachromatic 1/6 inch lens, 1 x parachromatic 1 inch lens.
Original Mahogany box with lock, key and leather carry handle.
W Watson was founded in London in 1837, in 1868 it became W Watson & Son, in 1883 it became W Watson & Sons, in 1908 it became W Watson & Sons Ltd thus this is microscope is post 1883 and before 1908.
The Royal Van Heurck Microscope: containers
The Royal Van Heurck Microscope by W Watson & Sons with monocular tube and continental base, c1897, probably C model.
1 x Leitz Wetzlar eyepiece,1 x unmarked 8x eyepiece, three W Watson & Sons lenses all in their original brass screw top containers marked W Watson & Sons.
1 x 1/12 inch oil 1mm lens, 1 x parachromatic 1/6 inch lens, 1 x parachromatic 1 inch lens.
Original Mahogany box with lock, key and leather carry handle.
W Watson was founded in London in 1837, in 1868 it became W Watson & Son, in 1883 it became W Watson & Sons, in 1908 it became W Watson & Sons Ltd thus this is microscope is post 1883 and before 1908.
The Royal Van Heurck Microscope: markings
The Royal Van Heurck Microscope by W Watson & Sons with monocular tube and continental base, c1897, probably C model.
1 x Leitz Wetzlar eyepiece,1 x unmarked 8x eyepiece, three W Watson & Sons lenses all in their original brass screw top containers marked W Watson & Sons.
1 x 1/12 inch oil 1mm lens, 1 x parachromatic 1/6 inch lens, 1 x parachromatic 1 inch lens.
Original Mahogany box with lock, key and leather carry handle.
W Watson was founded in London in 1837, in 1868 it became W Watson & Son, in 1883 it became W Watson & Sons, in 1908 it became W Watson & Sons Ltd thus this is microscope is post 1883 and before 1908.
The Royal Van Heurck Microscope
The Royal Van Heurck Microscope by W Watson & Sons with monocular tube and continental base, c1897, probably C model.
1 x Leitz Wetzlar eyepiece,1 x unmarked 8x eyepiece, three W Watson & Sons lenses all in their original brass screw top containers marked W Watson & Sons.
1 x 1/12 inch oil 1mm lens, 1 x parachromatic 1/6 inch lens, 1 x parachromatic 1 inch lens.
Original Mahogany box with lock, key and leather carry handle.
W Watson was founded in London in 1837, in 1868 it became W Watson & Son, in 1883 it became W Watson & Sons, in 1908 it became W Watson & Sons Ltd thus this is microscope is post 1883 and before 1908.
Bronzed Spelter Figural Oil Lamp
French Peasant in period dress of the second half of the C19th, Moissonneur or Harvester, a bronzed Spelter figural Oil Lamp with ribbed, blue glass font and #2 Queen Anne burner; 104 cm or 41 inches tall.
Cacti & Other Succulents reference by Edgar and Brian Lamb
A small selection of some of the more interesting and unusual books which have come our way recently.
Many are horticultural in focus but some are more eclectic.
We love books and we do not pretend to be a bookshop but some books we just cannot say “No” to.
Plants of the Gods by Richard Evans Schultis and Albert Hofmann
A small selection of some of the more interesting and unusual books which have come our way recently.
Many are horticultural in focus but some are more eclectic.
We love books and we do not pretend to be a bookshop but some books we just cannot say “No” to.
Botanical Books
A small selection of some of the more interesting and unusual books which have come our way recently.
Many are horticultural in focus but some are more eclectic.
We love books and we do not pretend to be a bookshop but some books we just cannot say “No” to.
Encyclopedia of Australian Plants by Elliot and Jones
A small selection of some of the more interesting and unusual books which have come our way recently.
Many are horticultural in focus but some are more eclectic.
We love books and we do not pretend to be a bookshop but some books we just cannot say “No” to.
Namibian Berber Style Carpet
Namibian Berber style carpet depicting local wildlife. Hand spun and hand woven using local wool as the warp on a cotton weft. Purchased “in country” late 1970s from ibenstein teppiche [carpets] in Dordabis in central Namibia. Circa 2.2 x 1.5m. The carpet is accompanied by a photograph of the weaver who created it.
Namibian Berber Style Carpet: detail 2
Namibian Berber style carpet depicting local wildlife. Hand spun and hand woven using local wool as the warp on a cotton weft. Purchased “in country” late 1970s from ibenstein teppiche [carpets] in Dordabis in central Namibia. Circa 2.2 x 1.5m. The carpet is accompanied by a photograph of the weaver who created it.
Namibian Berber Style Carpet: detail 1
Namibian Berber style carpet depicting local wildlife. Hand spun and hand woven using local wool as the warp on a cotton weft. Purchased “in country” late 1970s from ibenstein teppiche [carpets] in Dordabis in central Namibia. Circa 2.2 x 1.5m. The carpet is accompanied by a photograph of the weaver who created it.
Vintage Waterford Crystal Chandelier
Vintage Waterford Crystal 5 branch Chandelier with all drops etched “Waterford”. Electrical wiring in situ but should be checked and installed by a licenced tradesman.
Mutoscope: Wouldn’t I make a good Petty Officer
Mutoscope cards commonly feature drawings of “Cheesecake” or “Pin Up” Girls.
They were published on stiff card stock in America during the 1930s and 40s.
They were available from vending machines and became very popular with the troops during WWII.Size : 5.25″ × 3.25″.
These are a selection from our stock of over 100 Mutoscope cards.
Mutoscope: Short on Sails
Mutoscope cards commonly feature drawings of “Cheesecake” or “Pin Up” Girls.
They were published on stiff card stock in America during the 1930s and 40s.
They were available from vending machines and became very popular with the troops during WWII.Size : 5.25″ × 3.25″.
These are a selection from our stock of over 100 Mutoscope cards.
Mutoscope: Fisherman’s Luck
Mutoscope cards commonly feature drawings of “Cheesecake” or “Pin Up” Girls.
They were published on stiff card stock in America during the 1930s and 40s.
They were available from vending machines and became very popular with the troops during WWII.Size : 5.25″ × 3.25″.
These are a selection from our stock of over 100 Mutoscope cards.
Mutoscope: A Popular Number
Mutoscope cards commonly feature drawings of “Cheesecake” or “Pin Up” Girls.
They were published on stiff card stock in America during the 1930s and 40s.
They were available from vending machines and became very popular with the troops during WWII.Size : 5.25″ × 3.25″.
These are a selection from our stock of over 100 Mutoscope cards.
“Tudric” Pewter Lidded Tankard: top
“Tudric” Pewter Lidded Tankard which has characteristic Knox sinuous “whiplash” straps to lower extensions of the handle. The “S” form thumb piece to the lid appearing as a natural extension of the handle. The tankard was probably designed by Archibald Knox, (1864-1933) the primary designer for Liberty through the Arts & Crafts and into the Art Nouveau periods in the late C19th & early C20th.
The retailer Liberty of London was established in 1875 by Arthur Lasenby Liberty and is still trading in luxury goods in the West End.
Tudric was the “brand” name given by Liberty to its range of pewter goods in the early 1900s.
“Tudric” Pewter Lidded Tankard: stamp
“Tudric” Pewter Lidded Tankard which has characteristic Knox sinuous “whiplash” straps to lower extensions of the handle. The “S” form thumb piece to the lid appearing as a natural extension of the handle. The tankard was probably designed by Archibald Knox, (1864-1933) the primary designer for Liberty through the Arts & Crafts and into the Art Nouveau periods in the late C19th & early C20th.
The retailer Liberty of London was established in 1875 by Arthur Lasenby Liberty and is still trading in luxury goods in the West End.
Tudric was the “brand” name given by Liberty to its range of pewter goods in the early 1900s.
“Tudric” Pewter Lidded Tankard: side
“Tudric” Pewter Lidded Tankard which has characteristic Knox sinuous “whiplash” straps to lower extensions of the handle. The “S” form thumb piece to the lid appearing as a natural extension of the handle. The tankard was probably designed by Archibald Knox, (1864-1933) the primary designer for Liberty through the Arts & Crafts and into the Art Nouveau periods in the late C19th & early C20th.
The retailer Liberty of London was established in 1875 by Arthur Lasenby Liberty and is still trading in luxury goods in the West End.
Tudric was the “brand” name given by Liberty to its range of pewter goods in the early 1900s.
“Tudric” Pewter Lidded Tankard: rear
“Tudric” Pewter Lidded Tankard which has characteristic Knox sinuous “whiplash” straps to lower extensions of the handle. The “S” form thumb piece to the lid appearing as a natural extension of the handle. The tankard was probably designed by Archibald Knox, (1864-1933) the primary designer for Liberty through the Arts & Crafts and into the Art Nouveau periods in the late C19th & early C20th.
The retailer Liberty of London was established in 1875 by Arthur Lasenby Liberty and is still trading in luxury goods in the West End.
Tudric was the “brand” name given by Liberty to its range of pewter goods in the early 1900s.
Parian Ware Statuette 1
This C19th, Parian Ware statuette is an elegant contribution to the controversy which has raged ever since the English Naturalist and Geologist Charles Darwin published his work “On the Origin of Species” in 1859. Parian ware is a type of bisque porcelain imitating marble. It was developed around 1845 by the Staffordshire pottery manufacturer Minton; circa 15 cm tall.
Parian Ware Statuette 2
This C19th, Parian Ware statuette is an elegant contribution to the controversy which has raged ever since the English Naturalist and Geologist Charles Darwin published his work “On the Origin of Species” in 1859. Parian ware is a type of bisque porcelain imitating marble. It was developed around 1845 by the Staffordshire pottery manufacturer Minton; circa 15 cm tall.
Boomerang Miniature Grand Albert’s System Mouth Organ: detail
Made in 1930s by CA Seydel and Son of Klingenthal in Saxony, Germany.
The "Albert's System" is an advertisement device, named after the Boomerang's designer, Frank Albert (1874-1962), son of Jacques Albert (1840?-1914) ,the founder of Albert & Son Music, a retail musical instrument store in Sydney.
The boomerang was an iconic Australian instrument during the late nineteenth century and throughout much of the twentieth century. Being compact, portable, tuneful and cheap it immediately became popular with the Australian public upon its release onto the market in 1897. Still with original instruction sheet and in original box.
Boomerang Miniature Grand Albert’s System Mouth Organ: box
Made in 1930s by CA Seydel and Son of Klingenthal in Saxony, Germany.
The "Albert's System" is an advertisement device, named after the Boomerang's designer, Frank Albert (1874-1962), son of Jacques Albert (1840?-1914) ,the founder of Albert & Son Music, a retail musical instrument store in Sydney.
The boomerang was an iconic Australian instrument during the late nineteenth century and throughout much of the twentieth century. Being compact, portable, tuneful and cheap it immediately became popular with the Australian public upon its release onto the market in 1897. Still with original instruction sheet and in original box.
Boomerang Miniature Grand Albert’s System Mouth Organ
Made in 1930s by CA Seydel and Son of Klingenthal in Saxony, Germany.
The "Albert's System" is an advertisement device, named after the Boomerang's designer, Frank Albert (1874-1962), son of Jacques Albert (1840?-1914) ,the founder of Albert & Son Music, a retail musical instrument store in Sydney.
The boomerang was an iconic Australian instrument during the late nineteenth century and throughout much of the twentieth century. Being compact, portable, tuneful and cheap it immediately became popular with the Australian public upon its release onto the market in 1897. Still with original instruction sheet and in original box.
Cast Iron Garden Urns base detail 1
A pair of late C19th, probably French, cast iron garden urns; original patina with hints of green and grey paint; 18 cm square plinth base, 32 cm high, 42 cm diameter.
Cast Iron Garden Urns base detail 2
A pair of late C19th, probably French, cast iron garden urns; original patina with hints of green and grey paint; 18 cm square plinth base, 32 cm high, 42 cm diameter.
Cast Iron Garden Urns rim detail
A pair of late C19th, probably French, cast iron garden urns; original patina with hints of green and grey paint; 18 cm square plinth base, 32 cm high, 42 cm diameter.
Cast Iron Garden Urns
A pair of late C19th, probably French, cast iron garden urns; original patina with hints of green and grey paint; 18 cm square plinth base, 32 cm high, 42 cm diameter.
Boston Style Rocking Chair
Circa 1850 / 1860, “Boston style” ebonised rocking chair, the long back spindles harking back to Windsor chair origins; caned insert in characteristic, fully shaped “S” scroll seat; typical short front skids and fastening to the four legs; the top rail stencilled with Eastern European scenes contained by stylised leaves & floral motifs; the sweeping and shaped arms left “au natural”. In excellent condition. Scarce in Australia and not plentiful in the USA.
Boston Style Rocking Chair: detail
Circa 1850 / 1860, “Boston style” ebonised rocking chair, the long back spindles harking back to Windsor chair origins; caned insert in characteristic, fully shaped “S” scroll seat; typical short front skids and fastening to the four legs; the top rail stencilled with Eastern European scenes contained by stylised leaves & floral motifs; the sweeping and shaped arms left “au natural”. In excellent condition. Scarce in Australia and not plentiful in the USA.
Olivetti Valentine S Typewriter open
Iconic late 1960s design by Ettore Sottsass & Perry King. The Valentine was available in white, green and blue, but its most famous form was red: lipstick-bright ABS plastic casing, with black plastic keys and white lettering. Complete and in “as found” condition.
Olivetti Valentine S Typewriter closed
Iconic late 1960s design by Ettore Sottsass & Perry King. The Valentine was available in white, green and blue, but its most famous form was red: lipstick-bright ABS plastic casing, with black plastic keys and white lettering. Complete and in “as found” condition.
The Glow Heater
Early C20th, Australian made, electric radiator “The Glow Heater”, patented Feb 29 1916, No 411/16, manufactured by J Marriott of 88-90 Lit. Collins Street Melbourne; item no 62866; copper and brass Federation style housing; “silver” metal reflective hemisphere, ceramic insulator cone; the wire element powered by a 3.5 Amp 240 Volt current thru the cloth covered power cord and Bakelite wall plug. All original condition.
Lighthouse Table Lamp
Circa 1930’s, on naturalistically modelled rocky shore base with roped steps leading to a lifeboat. Possibly made in Sydney; painted composite stone; 57cm tall.
Butterscotch Lucite Handbag Frame 3
Circa 1950s Butterscotch Lucite handbag frame with chain handle, impressed MARDOR.
Butterscotch Lucite Handbag Frame 2
Circa 1950s Butterscotch Lucite handbag frame with chain handle, impressed MARDOR.
Butterscotch Lucite Handbag Frame 1
Circa 1950s Butterscotch Lucite handbag frame with chain handle, impressed MARDOR.
Souvenir from Egypt
1915 Cairo “from Henry to Mother October 5th”. Henry was Henry Wiston McLean, service number 1106, rank Private; 2nd Light Horse Regiment, 1-10 reinforcements; embarked HMAT Shropshire A9; hand stitched on silk; obtained from descendants 2010.