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We recently found this stunning piece of hand made repousse art. Made from brass, it has a really wonderful level of detail. A rare piece showing a key moment in European history. It depicts the Berlin Conference of 1884. The central figure is Otto Von Bismarck, the "Iron Chancellor", architect of German unification and who is credited with keeping Europe's conflicting powers in balance for two decades. The Berlin conference was timed as Germany post unification started to get more interested in colonial expansion and involved the major colonial powers in effectively "carving up" Africa. The repousse technique hammers the shape in to the metal from the reverse side creating an image that stands out from the metal sheet. The figures and the features of the room are created with fantastic repousse detail providing us with an amazing three dimensional rendition of this critical event that really brings the conference and the attendees to life. Each historical character is meticulously reproduced. It perfectly captures the sense of European Colonial Power. The plaque is signed A. Arens. Arnold Arens is listed in an international trade catalogue of 1889 as Stamped Repousse work in Rue Des Nerviens, Antwerp. We can assume that the plaque was commissioned at the time of, or soon after, the conference itself. Belgium were represented at the conference so perhaps the plaque was commissioned by Belgium. But Arens had an international reputation so may have been commissioned by the conference to create this unique piece. We have found a few other examples of Arnold Arens work from this period including other historical characters. But perhaps the most impressive example of his work are these stunning doors from a hotel on the Rue Des Nerviens where he was based. The hotel was built in 1879. The architect was Henri Blomme. We love finding unique pieces that have so much history. We hope you agree, this is a special piece. It can be incorporated into a any modern home to add soul and character to a space. We have has it framed in a simple wooden frame by an expert framer. It can now be enjoyed by generations to come.

Restoration is to restore something back to its original condition, whereas preservation is to preserve something in its current state to prolong its life. For us, preservation is the most important and satisfying, and we would always favour this over restoration. We love the history and patina in objects and want to retain this as part of their charm. Preserving the item so that it can still be incorporated in to a home is our goal. We found six stunning cast iron stained glass windows in a poor and deteriorating state of repair. Each window had broken glass, loose putty and flaking paint. Restoration would have involved removal of all of the glass, sandblasting, repair, reglazing and repainting. The result would have been amazing but prohibitively expensive and much of the character and history of the windows would be destroyed in the process. We decided to preserve three of the windows by taking good glass from the others, retaining the old paint and sound putty where possible. Only the worst damages were replaced with small cracks and chips to the glass left. The other three empty frames were sold to a company that makes mirrors from antique frames. The spare glass will be sold individually as decorative pieces or for use in other projects. Every piece will be saved. Preservation is a painstaking process of only touching where needed, to prevent further deterioration and make the item usable. It is always time consuming and there is no rule book. The result is a piece that is preserved for the future, full of character and with our work just another part of its history. We are just mere custodians of these beautiful pieces.

We were delighted to be asked to be interviewed for the the 'Talking Shop' section in Homes and Antiques magazine. It is wonderful to talk about our background, our own home and our passion for old pieces. We do love mixing old and new pieces to add soul and personality to a space. We are always searching for unusual items made by master craftsmen and have a story to tell. Each piece we hand pick have a history and can be given a new life in a modern home. Soul and sustainable for a modern interior what's more to love!. Pick up the June edition of Home and Antiques magazine, its in shops now.

We have recently sourced a collection of antique eye baths or cups and love the history behind them. Eyecups were created in more materials than glass and porcelain. Silver cups were used in Europe and date back to the 16th century and even the Egyptians were thought to have used them. The maker which keen collectors hunt for is John Bull. The cup shape was patented in 1916, in England. It is distinguished by the rim, which is rolled inward. Bull produced many colours to choose from in the petite stemmed glass cup design. These stunning green examples are made by The Wood's Bottle Works of Scotland. They have a wonderful vibrant colour don't you think? Eyecups are used to clean the eyes with a medicated solution or ointment. The oval cup has a rim that conforms to the eye are used for irrigation using water. The cobalt blue colour of some eye wash cups means they are fabulous to stage in an interior. Again these examples are made by The Wood's Bottle works and are fully embossed by the maker. One of the most famous brands of Optical medication is Optrex. The brand was first registered in France and England in1931. Optrex is a British company which still makes a selection of liquids for various eye problems today. These English eye baths were made by United Glass in St Helens, Lancashire until about 1965 when they were replaced with plastic. The eye baths were made to fit, inverted, over the top of Optrex eye wash bottles. Antique glass versions are the most sought after and are stunning in different colours, displayed on a shelf or window ledge. We think the porcelain examples, especially with timeworn surface crazing are the most over looked. These make perfect miniature vases or to store cotton wool buds in a bathroom. Its amazing how undervalued these lovely glass cups are. If you are new to vintage and antiques, these are the perfect piece to start with. Many can be found on visits around flea markets, charity shops or car boots. Keep your eyes peeled and happy hunting!

Thomas Tomkison of London were one of the most renowned piano makers in London in the early 19th Century. Thomas Tomkison began his apprenticeship in 1778 and by 1800 was a serious competitor to the existing piano makers in London. He died in 1853. Tomkison's instruments were famous for their beautiful construction as well as their excellent sound. It is the stunning craftmanship and superior quality of the materials that can be seen in a recent find. It is a conversion of a Thomas Tomkinson piano in to a fabulous and rare desk. We don't know when the conversion was carried out, but it is wonderful and in keeping with the piece. We assume the conversion took place at the end of the 19th Century or early 20th Century. The upright piano itself is constructed from fine inlaid mahogany with wonderful Ormolu surround to the back upright. The sunken handle to the front is pulled to reveal a leather tooled insert writing desk . The original fret work to the sides and and pull out desk mechanism is just great. Tomkison held a Royal Warrant and operated from Dean Street Soho between 1799 and 1851. He really was a master craftsmen and this upright example would have been extremely expensive to buy in its day. The back has shelves fitted to form a really useful bookcase. The inlaid decoration is just stunning! The original piano dates from the 1820's. This conversion is a real conversation starter. A wonderful addition to any modern home to add soul and character to an interior.

We absolutely love typewriters here at Retrovation. Especially early examples with Japanned metal cases and gorgeous black or white glass keys. They really were the enabler of the books and magazines we have today. The first computer if you like. The famous actor Tom Hanks has even written a book of short stories where typewriters are a common theme. There is something very tactile about using a typewriter. The sound of the bell, the feeling of the keys, the carriage mechanism, and the ­satisfaction of pulling a completed piece of paper out of the machine. When we received a call late last year from a Swaffham Museum to buy ten different typewriters we jumped at the chance. Swaffham Museum is a small independent museum in Norfolk. The collection of typewriters we have sourced range from the end of the 19th century to the 1950s. They include rare models and makers. We have really enjoyed researching and learning about all the different companies and models.# This Woodstock model dates from around 1916, based on the patents on the reverse. This typewriter is one of the earliest of the Woodstock company which was founded in Woodstock in 1907. Their typewriters were well reviewed and known for their ease of use and quiet operation. Remington typewriter dates from the turn of the century. This is a fantastic piece and is working and has a new ribbon. The japanned metal body has a lovely patina with original gilt writing to front and back. The white keys are mounted on brass and the return lever and fittings are brass too. A wonderful example of an early typewriter. We have a ever changing range of typewriters available to buy on our website. Take a look at the category - Typewriters, Telephones & Cameras. Get in touch if you are looking for something specific. We would love to help.

At Retrovation we love to buy pieces that are beautifully made and can be used in a modern interior. One maker that we think is a little overlooked is Joseph Sankey. Other copper makers such as the Newlyn school are reaching incredible values, whilst Sankey copper is often left on the shelf. The purists may say that these pieces were only hand finished and were starting to use mass production techniques. We still love the warm copper hues and the hand beaten look of their pieces. The iconic reptile design is a favourite of ours and we love the patina and tones of old antique copper. Joseph Sankey was born in Bilston in 1827. After his father death in 1836, Joseph became a pupil at the Royal Orphanage School in Wolverhampton. At the age of 14 he was apprenticed to John Duncalfe, a tray blank maker of Hall Street, Bilston, where he was taught design and mechanical drawing. After his apprenticeship he was employed by the Birch brothers, who made tinplate trays that were sold to Japanners for finishing. In 1861, Joseph Sankey took over the business on his own. In the early 1860s, Joseph went into partnership with Richard Chambers and John Page in order to acquire a rolling mill and ironworks at Stonefield, as a way of gaining control over the firm’s supplies of tinplate and sheet iron. The business became the Bilston Iron Company. The firm began to concentrate on the manufacture of a wide range of hollowware including chocolate moulds, dish covers, lamps, lanterns, milk churns, tin boxes and stamped or pressed metal products such as bath tubs, fire shovels and metal life buoys. In 1874 the firm had 65 employees. The company’s founder, Joseph Sankey, died in 1886. In July 1891, John William Sankey, went into partnership with his two younger brothers, Frederick Ernest Sankey and George Herbert Sankey, and the business became Joseph Sankey & Sons. The Sankey brothers were an entrepreneurial family and looked to expand and look after their employees. Joseph Sankey family is well-remembered in Bilston. They were true entrepreneurs and grew their business to be one of the most successful manufacturers in the town. At Retrovation we love finding their pieces, especially in brass and copper. Source - www.historywebsite.co.uk

When a Salvage Hunter researcher stopped to say hello at one of our events who would have thought that Drew and Tee could come to visit us in late March 2020. At the time, Covid 19 was just hitting us all and, as we bumped elbows awkwardly, we couldn't imagine that it would be 18 months before we saw the results of the filming. After so much has happened, we are, at last, going to see the final cut. Once we got started, it is very much like you see on TV; Drew and Tee only enter the Retrobarn for the first time when the cameras start rolling. Drew Pritchard is a wealth of information having been in the business for many years. He was very happy to share his knowledge and experience with us on the day and has continued to support and mentor us since. The Salvage Hunters Crew were brilliant! Funny, professional and great to work with. The Retrobarn is an ever changing collection of eclectic English antiques and salvage, all sourced from around the country. We were delighted that he found some real gems in our barn and we were happy to do a deal. You will have to tune in at 9pm on the Quest channel, on Wednesday 20th October to see what Drew brought from us. It's series 15, episode 12 if your watching on catch up! We have been on a journey since starting to deal in antiques and the Salvage Hunters' visit was a key part of that journey. We have continued that development since the episode was filmed and Drew has become a firm friend, mentor and customer. As a parting gift, Drew presented Dawn with her own 'dealer' cap. She was bowled over to be crowned 'a dealer' on the day and we continue to try to develop as dealers. All of our thanks go to the whole production team for an amazing experience, Dawn & Steve xx

Salvage Sundays started with Drew Pritchard hosting Instagram lives on Sunday Evening at the start of lockdown in 2020 with the aim of supporting the trade to continue as fairs closed down and face to face selling became impossible. Drew's live chats and the online selling forum around it provide a lifeline for many dealers during this time and provided the opportunity for many new dealers to start to experience what buying and selling could be like. This summer the fairs restarted and we all took a break from Salvage Sundays on Instagram to get back to the business of meeting up with other dealers and customers. As the fairs slow down, the question is what's next for Salvage Sundays? Drew handed the reins over to Dawn from Retrovation so it naturally fell on her to try to answer this question. She couldn't do this alone so has teamed up with Angela from Sunshine Antiques to try to look forward. Angela is one of the most experienced of the Salvage Sundays dealers and one of the key drivers of Salvage Sundays. So, what are the plans? Firstly, is there any need for Salvage Sundays or something similar going forward? Dawn and Angela believe the answer is yes! Covid was a unique situation that forced the change, but there are many other factors that are making Salvage Sundays as relevant as before. Social media is not going away and is becoming an important tool for everybody's business. Antique dealers love to meet face to face and that won't change, but there will be a place for social media to market, engage and sell. So, what will Salvage Sundays look like going forward? Salvage Sundays has been very organic with no clear direction which has been great fun, but a bit chaotic! To be sustainable, it needs to have a clear direction and purpose and Dawn and Angela believe that is best to go back to Drew's original direction with a focus on the trade: The focus should be on finding great quality pieces and selling them at a good price moving them through the trade and ultimately to the right customer. With this in mind, Dawn and Angela want to focus Salvage Sundays on dealers finding and presenting fresh to the market quality antique and salvage pieces. They want to build a community of on the ground dealers finding fresh pieces along with trade buyers and customers who want the opportunity to buy direct from source. So what's next? Are their big plans? Next is to get the Sunday evening event started again, but not to move too fast. Just a few dealers to start to see what works. And reaching out to trade and end customers to get their feedback. No grand plans yet! Do get in touch and let us know what you think?

We are absolutely delighted to have our own home featured in the 63rd edition of Reclaim Magazine. We worked with interior stylist and writer Alice Roberton (@alice.roberton) on this piece. Our home is a Grade two listed house in the village of Markyate in Hertfordshire. It is part of a large coaching house called 'The Grange'. The main high street in Markyate was the old Watling Street, the main coaching route from St Albans to the midlands. We have always talked about 'adding soul' to interiors and practice this very much ourselves. Buying pieces which have meaning to us such as a holiday souvenir , treasured keepsake or family heirloom and incorporating them into our home. The two milliners hat moulds on our mantle are used to stage two special hats. The top hat is Steve's Grandfather's, as he was an undertaker. The cap is a gift from Drew Pritchard when he filmed Salvage Hunters with us. We have developed two hashtags on Instagram #weaddsoultointeriors and #addcharactertoyourspace. A great opportunity to tag unusual pieces and treasure from your own home. Whether its a beaten travel case which has been on an adventure or a fossil found on holiday, all these pieces have a story to tell. They add layers to your home and make your interior unique to you. Do pick up a copy of Reclaim Magazine @reclaimmag in shops now and is a great read!

Birmingham became one of the main centres for the trade and manufacturer of brass. Large profits were to be made from brass and the numbers of foundries, factories and manufactories grew at an alarming rate from the late eighteenth century. By the mid nineteenth century the manufacture of every conceivable item that could be made of brass , from tacks to bedsteads and gas fittings. The skills within the brass trade cannot be understated. Casting needed the application of both manual dexterity and scientific knowledge. The rising demand for church furniture and artefacts in the 19th century, as well as the revival of metal art and crafts, tried the skills of the workers. Braziers wrought intricate patterns on many of the goods they produced, but, by the nineteenth century, their work had been taken over by machine stamping. The flexibility of Birmingham’s workers was renowned. William Tonks founded one such firm in 1789. They won gold medals at the 1851 and 1862 Exhibitions in London and in 1855 at Paris. The larger factory in Moseley Street, Birmingham was opened in the early 1860s and most items now found will date from after this time, such as the example we have found. Their 1890 catalogue contained an array of builders hardware and designed interior pieces. The network of canals around Birmingham was well established by this time making the transportation of raw materials both quicker and cheaper. Another Birmingham maker Townshend Art Metal Company, was an establish brass and copper foundry in the 1890s . They specialised in art metalware such as holloware and tableware for up market retailers and restaurants . This candlestick example has a fabulous ornate design to the base and stem. Although Birmingham cannot claim credit for the introduction of brass manufacture to this country, within a few years of its appearance in the town Birmingham was responsible for a high proportion of the manufacture of pieces in brass. We think that decorative brass pieces made in Birmingham in the 19th century are really over looked. If you have a piece with a makers mark do take a look at www. oldcopper.org. It is a great reference site for research.

The introduction of Steam power in the 19th Century revolutionised the shipping industry and made Britain a world leader in ship building. Much of Britain’s wealth relied on merchant ships to carry goods and people across the empire. British ships were amongst the best in the world and the use of steam propelled engineering meant they has a huge advantage. By the time Queen Victoria came to the throne, seam powered vessels were in use around the country, with a regular voyager to North Atlantic by Brunel’s Great Western. By the 1870s, the American and British economies prospered, and the class of wealthy and high society were eager to travel in luxury. The accommodation was designed with luxury and opulence and soon the ocean liners were famous. These ships relied on the immigrant trade and soon rich and poor crossed the ocean on different decks. Travel and adventure were the height of fashion in the 1900s and luggage manufacturers were quick to design travel cases and trunks to meet this demand. The 1926 advert for Winship’s ‘entirely different’ 'travel trunk with doors' is a great example. We have just found an one of these Winship travelling wardrobe. It has original wooden hangers for clothes and a bank of drawers for storage. As the advert explains that they ‘cost more to build and is worth every dollar of the necessary difference’. It has a ‘solid base and centre partition given unequalled strength and durability as well as convenience and beauty’. We could not agree more. The stunning travel wardrobe we have available is in great condition of its age, extremely heavy and a stunning piece. By the 1930s and after the war, ocean liners marketed their ships for modern middleclass travellers to see the world, travel in style and have fun. The modern sea traveller was born, luggage was smaller and lighter and lead to what is now know as cruising. Ocean travel connects people and markets around the globe. We hardly give sea travel a second thought, yet we all depend on the vessels, ports and workers who keep the network going.