One of a kind antiques.
Old objects of desire.
Objects made with intention.
Found with patience.
We seek out one of a kind antiques. Truly unique antiques pulled from estate sales, flea markets, and forgotten places. The type of old objects from the past that still have something to say.
Our Philosophy
Slowly picked.
Instantly loved.
Heimwee Antiques is a curated shop for those drawn to unique items with stories baked into their surfaces. We don't stock multiples. Everything here is a genuine one of a kind antique.
From eerie antique oddities to beautiful old objects, we edit ruthlessly so you don't have to wade through noise. If it's here, we loved it enough to carry it ourselves.
Featured Products
A killer piece of early 20th-century retail display, this Lystalite Hats advertising mirror is equal parts elegance and swagger. Mounted to a warm, reddish oak base with stepped beveled edges, the mirror is framed by clean lines and anchored by a cast metal script that reads "Lystalite" in bold, looping confidence. Below the mirror's surface, the words “Lystalite Hats” are subtly etched. The mirror tilts on a double-armed support and still holds solid.
There’s a quiet confidence to it—designed to catch the eye without shouting, inviting a closer look from across the counter. The materials do the talking: wood, glass, and metal working together in a way that feels both grounded and refined.
Category History
Lystalite hats are a clever answer to a very practical problem: how do you make something that looks like straw but holds up better to travel, weather, and wear? Introduced in the mid-20th century, Lystalite was a proprietary synthetic material developed to mimic the airy, woven look of traditional summer hats while offering more consistency and durability.
At a glance, they read like classic straw—light in color, open in structure, easy on the eyes. But up close, the difference shows. The fibers are more uniform, less prone to splitting, and better able to hold their shape over time. That made them especially appealing for hats that needed to be packed, handled, and worn regularly without losing form.
Design-wise, Lystalite hats didn’t reinvent the wheel. They followed familiar silhouettes—fedoras, western styles, casual summer hats—but with a slightly cleaner, more controlled finish thanks to the material. It’s subtle, but noticeable.
What makes them interesting now is that balance between imitation and innovation. They aren’t trying to replace straw so much as improve on its limitations. You get the look, with a bit more reliability.
They sit comfortably in that mid-century mindset—practical, forward-looking, and just a little optimistic about what new materials could do for everyday objects.
This original 1930s Rowney Artists' Pastels display cabinet is as charming as it is useful. Made of solid oak with a glass-front lift-up top and five shallow drawers, it once lived a colorful life-literally-housing rows of pastels in a well-used art shop or studio. The drawers still hold the soft hues of long-gone pigments, and we've left that glorious chalky residue untouched because, well, it's part of the story.
The wood has aged beautifully, with a warm patina and plenty of paint flecks that prove it saw action. All original drawer knobs are intact, the drawers open smoothly, and the hinged top works just as it should. It's got all the right imperfections in all the right places.
Sourced in England.
W: 18.5" H: 13.4" D: 14.8"
Category History
Old display cases are where objects learned how to present themselves. From the late 19th into the early 20th century, they showed up in shops, museums, and exhibitions as quiet frames for attention—glass, wood, and joinery working together to hold and highlight what mattered.
Most were built with purpose in mind. Retail cases prioritized visibility and access—hinged lids, sliding doors, mirrored backs—while museum versions leaned toward protection and order. Materials were chosen for both durability and clarity: hardwood frames, thick glass panels, sometimes lined interiors to soften the presentation.
What makes them interesting now is how much thought went into what you don’t immediately notice. The proportions, the way light moves through the glass, the height relative to the viewer—all designed to guide the eye without calling attention to themselves.
Over time, they pick up a quiet patina. Scratches in the glass, worn edges on the wood, small repairs that hint at long use. They weren’t static; they were opened, rearranged, cleaned, used daily.
Today, they read as both furniture and stage. Not just containers, but collaborators—objects that understand how to show something at its best without getting in the way.
A young couple, dressed in what feels like playful costume rather than strict everyday wear, sit pressed together in a way that feels unguarded and gently defiant. She rests her head against her shoulder, eyes soft, expression calm and settled, like this was the most natural place to be. She meets the camera head-on, mustache perfectly assertive, hat tipped just enough to suggest intention.
The clothing adds an extra layer of intrigue. The dark jacket and tall cap one one of them reads as theatrical, almost uniform-like, while the patterned dress and crisp collar of the other soften the scene.
What really carries the piece is the closeness. Tintypes often keep people politely separated, hands folded, bodies squared to the lens. Not here. This is intimacy, plain and simple, recorded on a small sheet of iron. It’s a tender image that slipped past formality and landed somewhere human.
Circa third quarter 19th century.
Category History
Tintype photography is one of those processes that feels both scrappy and ingenious. Introduced in the 1850s, it wasn’t actually made on tin but on thin sheets of iron coated with a dark lacquer. The image—created through the wet plate collodion process—appeared directly on that surface, producing a one-of-a-kind photograph that was durable, affordable, and quick to make.
That combination made tintypes wildly popular. Street photographers, traveling fairs, and small studios could produce portraits in minutes. No negatives, no waiting—just a finished image handed over on the spot. They became the everyday photograph of their time, capturing soldiers, families, and individuals who might never have sat for a more formal portrait.
What makes tintypes compelling now is their immediacy. Slight imperfections—soft focus, uneven exposure, a bit of ghosting—aren’t flaws so much as fingerprints of the process. They feel direct, almost unfiltered.
Small, sturdy, and deeply personal, tintypes carry a quiet presence—little pieces of time fixed onto metal, meant to last.
This 1960s Scandinavian Air Service toy airplane is made of tin lithograph with hard plastic elements, it features a detailed cutaway fuselage revealing neat rows of passenger seats, turning a simple toy into a miniature window into mid-century air travel.
Made in Japan, it carries that perfect balance of playfulness and precision—spinning propellers, crisp graphics, and just enough wear to remind you it’s logged a few imaginary miles. The SAS markings and “Royal Viking” details root it firmly in the golden age of commercial aviation, when flying still felt like an occasion.
Measures 18" wide, 19" deep, and 5.5" high. A standout display piece for anyone drawn to aviation, design, or the quiet romance of a cabin full of tiny passengers heading somewhere far off.
Category History
Mid-century tin lithograph toys are where industry meets imagination at full speed. From the 1930s through the 1960s, makers in Japan, Germany, and the U.S. turned thin sheets of tin into bright, mechanical playthings—cars, robots, airplanes, space gadgets—each brought to life with wind-up keys or simple friction motors.
The magic is in the surface. Lithography allowed for crisp, colorful graphics printed directly onto the metal—logos, gauges, windows, tiny passengers—all rendered with a kind of optimistic precision. Even when the forms are simple, the detail sells the illusion.
Inside, the mechanics are straightforward but satisfying. Gears, springs, and cams translate a twist of the key into movement—rolling wheels, spinning propellers, wobbling figures. Nothing hidden, just a clear cause and effect.
They were built for play, not preservation, so surviving examples often show scratches, dings, and softened edges from years of use. That wear feels right.
What stands out now is their balance of charm and ingenuity. Lightweight, durable, and visually bold, they capture a moment when toys didn’t need batteries—just a little winding and a lot of imagination.
The Collection
Seeking the hard to find.
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Some antiques refuse to fit neatly into categories. Handmade pieces, folk art, unusual tools, and singular creations that were never mass-produced. One of a kind antiques remind us that before factories and standardization, many objects were made individually, often shaped by necessity, creativity, or sheer improvisation. The result is work that feels personal, sometimes imperfect, and endlessly fascinating.
These are the antiques that make us pause, smile, and ask the most gratifying question of all: what on earth is that?
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Antiques that catch the eye for their unusual design, uncommon subject matter, or distinctive character. These are the pieces that make you stop for a moment and look twice. Sometimes it’s an unexpected form, a bold graphic, a strange detail, or just the unmistakable feeling that you haven’t seen one quite like it before.
Unique antiques are often the ones that give a collection its personality. They spark curiosity and start conversations.
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Some antiques are beautiful. Others are simply… strange in the best possible way. These are the oddities, curiosities, and head-scratchers that don’t always follow the rules.
Oddities remind us that history wasn’t always tidy or predictable. Sometimes it was inventive, a little weird, and endlessly fascinating. And often, those are the pieces that collectors remember the most.
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These are the ordinary items that quietly shaped daily life in the past. Tools, household goods, trade items, and small inventions that people once used without a second thought. Over time, these objects moved from being practical necessities to small windows into history.
Looking at these old objects today gives us a glimpse of how people lived, worked, and solved everyday problems. What once felt routine now tells a story about craftsmanship, ingenuity, and the rhythms of another time.
Here’s what our clients have to say.
“Fabulous! The mighty nut arrived last night! Love it!”
— Gretchen Sedaris“I received the package yesterday and I am so happy. It will be a perfect addition to my collection.”
— Sandy Parks
“Thank you so much, I will treasure it. It has been a great pleasure dealing with you.”
— Ian Purnell
Meet The Picker
The things that quietly make a place yours.
Hello, I'm Humberto. My passion for antiques led me to an unwavering pursuit of objects that bring character into any room. Things that feel like they have always belonged there.
Those are the pieces I seek: Old objects of desire. Not because they carry grand importance, but because they have a way of summoning you.
And although you can’t always explain it, something in you lights up, and before you know it, you are completely taken by something you had no idea existed two seconds ago.
I'm based in San Francisco, running this online shop and sourcing for private clients.
You can find me exhibiting at shows across the country, if you stop by my booth, please say hi.
Nameless Art + Design Show
Taconic Antiques Fair
Found Object Show
All American Collector's Show
Rhinebeck
There is more to explore. Browse the full collection.
Frequently Asked Questions
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Every piece at Heimwee is a single, unrepeatable object, no two are the same. Whether it's a trade sign, a carved figure, or a found curiosity, once it's gone, it's gone. We don't source multiples.
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Antique oddities are the objects that don't fit neatly into a category. Strange, curious, or eccentric things from the past that stop you for reasons you can't quite explain. Think anatomical models, folk art, unusual trade objects, taxidermy, or anything that makes you say "what is that?"
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The traditional definition is 100 years or older. At Heimwee we're not strict about the label, what matters is that the object has age, character, and a life already lived in it.
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Antique typically refers to objects over 100 years old. Vintage usually covers pieces from the 20th century, and are roughly 20 to 99 years old. Both live happily at Heimwee if they're interesting enough.
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Yes. Humberto sources for private clients. If you're looking for something specific. A particular type of object, a period, or a feeling — get in touch directly.
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Every object sold at Heimwee is personally sourced and vetted by Humberto. Provenance and condition are described honestly in each listing. If you have questions about a specific piece, just ask.
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Reach out via the contact page. We'll do our best to accommodate, but as everything is one of a kind, we can't hold pieces indefinitely.
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Yes. Heimwee ships worldwide. Fragile and unusual objects are packed with care, we've shipped everything from whale trade signs to enamel art.
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We want you to love what you receive. Please review our full return policy before purchasing, and don't hesitate to ask questions about a piece before you buy.
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Irregularly, which is part of the charm. Sign up for email alerts to be the first to know when fresh objects land.