New in 19th Century Furniture

Large beautiful regency Gasolier made from gilt bronze and Rock Crystal. Originally made in France with 36 lights. Arranged in 8 double pairs of lights each held by an angel with ro...

2 Volumes. Elizabeth Barrett Browning, The Poems. Bound in full red morocco with the covers and raised band spines gilt-tooled. All edges gilt. New York: C.S. Francis & Co., 1853.

1 Volumes. George Catlin, North American Indians. Bound in 3/4 brown calf and marbled boards. The covers and raised band spine are gilt-tooled with red and black morocco labels. All ...

1 Volume. Francis Parkman, The Oregon Trail. Author's Edition. Bound in 3/4 navy morocco and marbled boards with gilt-tooled covers and raised band spine. top edge gilt with marbled ...

On offer here is a beautiful small oval mirror, crafted in France in the latter half of the 19th century, circa 1870. The mirror frame features a smooth pine wood frame coated with g...

2 Volumes. Austen Henry Layard, Nineveh and its Remains. First Edition. Bound in 3/4 tan calf and marbled boards. The raised band spine is gilt-tooled with red and green morocco labe...

3 Volumes. Isaac Disraeli, Curiosities of Literature. Bound in full tan calf. The covers and raised band spines display gilt-tooling with brown and green morocco labels. All edges ar...

3 Volumes. Richard Muther, The History of Modern Painting. Bound by Sotheran in 3/4 brown morocco and linen boards with the covers and raised ban spines gilt-tooled. Top edges gilt w...

1 Volume. (Anon) The Greatest Plague of Life or The Adventures of a Lady in Search of a Good Servant. Bound by Kelliegram in full wine morocco with multi-colored inlay on the covers....

1 Volume. The Court of St. Petersburg, Secret Memoirs. Limited Edition. Bound by Zaehnsdorf in 3.4 green calf and marbled boards. Raised band spine gilt-tooled with a red morocco lab...

10 Volumes. Giuseppe Verdi, The Great Operas. The Verdi Edition. Bound in 3/4 morocco (various colors) and silk boards bordered in gilt-tooling. The spines display variously colored ...

2 Volumes. N.P. Willis & J. Stirling Coyne, The Scenery and Antiquities of Ireland. Bound in full green morocco, gilt-tooled detailing, and raised band spines. All edges gilt with gi...

1 Volume. Austen Dobson, Ballad of Beau Brocade and Other Poems. Bound by Kelliegram in full green morocco. The covers display a gilt-tooled border and a multi-color inlay figure. Th...

1 Volume. Gilbert Abbott A. Beckett, The Comic History of England. First Edition. Bound by Bayntun in full red calf. The covers and raised band spine are gilt-tooled with green and p...

6 Volumes. Edmund Lodge, Portraits of Illustrious Personages of Great Britain. Bound in full red morocco. The Covers and raised band spines display ornate gilt-tooling with black mor...

1 Volume. Charles Dickens, Dombey & Son. First Edition. Bound by Bayntun in full blue morocco with the covers and raised band spine gilt-tooled. All edges gilt with gilt-tooled turn-...

Presented here is an exquisite antique Louis Philippe mirror, adorned with 19th-century French craftsmanship and elegance. Originating from southern France and dating back to approxi...

This set of eight blue and white dinner plates is painted in Wedgwood's Mared pattern. The pattern is characterized by a beautiful shell edge and a loop of "pearls" encircling the ce...

This pair of hand painted blue and white Chinese porcelain jars was made in the late Qing Dynasty in the Guangxu Era circa 1880. Each jar is expertly hand-painted in shades of cobalt...

This hand painted English porcelain dessert service features the exquisite Blue Chrysanthemum pattern, combining deep blue with the allure of gold. It's a fabulous combination! The golden chrysanthemum leaves are richly gilded, creating a beautiful contrast against the deep blue background. This gorgeous 32-piece service consists of 21 dessert plates and all the serving shapes: a centerpiece and pairs of square-shaped dishes, shell-shaped dishes, oval-shaped dishes, and a fabulous pair of sauce tureens with their underplates. Made by Coalport circa 1810, this Regency Period pattern was inspired by similar Chinese designs of the 18th century. In Chinese lore, chrysanthemums represent a long and happy life because they bloom at the end of summer. In addition to their beauty, these dishes symbolize happiness and overall well-being. Dimensions: The diameter of the set of twelve dessert plates is 8.35" The diameter of the set of nine dessert plates is 7.5" Centerpiece 12" x 8" 4" tall Pair of shell-shaped plates 7.75" x 7.75" Pair of square-shaped dishes 8.5" x 8.5" Pair of oval-shaped dishes 11" x 7.5" Pair of sauce tureens on stands 9" x 7" height 6" Condition: Very good to Excellent, with very slight rubbing to the gilt (see images). Price: $14,650 Background of Early Coalport Porcelain: In Shropshire, England...

This art nouveau sicilian carving it was part of a larger composition from a piece of furniture, it's in original very good conditions. The walnut wood has been a suitable choice for...

3 Volumes. Samuel Rush Meyrick, Ancient Armour. Bound in full tan calf with the covers displaying gilt-tooled borders and an open-tooled cross-hatching pattern. Respines in purple mo...

Hand-crafted in Italy in the early 1800s, this pair of polychrome Venetian mirrors have gilded carvings offset by floral paint. The shaped mirrors are surrounded by a border festooned with repeating applied decorations. There is a gilt-raised border surrounding the mirrored glass. Each mirror is topped by a pierced finial that has also been carved and painted with garlands and flourishes The curls transition seamlessly into gilded floral and foliate embellishments that flare outwards and then trail down the sides. At the bottom of each mirror is a pair of gilded and painted feet. This pair of early 18th-century polychrome Venetian mirrored sconces would make great additions to just about any room of the house. instantly adding grace to whichever wall they are placed on. This pair of antique Venetian...

Two Blue, brown and gold lacquered wood columns hand-crafted in Italy in late 19th century, they were in a noble Sicilian palace at the four corners of a large hall, there are 4 colu...

A wonderful late 19th-century leather steamer trunk. The trunk is made of canvas and has been leather-mounted around a wicker dome top. Two large buckles to the front of the trunk s...

A pretty pair of French button-back armchairs in calico. The chair’s seats have been fully restored, stripped back to the original solid walnut pegged frame with a new coil spring b...

1 Volume. John Brown, The Self-Interpreting Holy Bible. Bound in full black morocco with the covers and raised bands displaying gilt-tooled detailing. All edges gilt, gilt-tooled den...

2 Volumes. Colonel Wilson, Picturesque Palestine, Sinai & Egypt. Bound in full black morocco with open and gilt-tooled detailing on the covers and raised band spines. All edges gilt ...

25 Volumes. Sir Walter Scott, The Waverley Novels. Centenary Edition. Bound in full tan calf with gilt-tooled bordering on the covers. Raised band spine with gilt-tooled detailing an...

9 Volumes. Horace Walpole, The Letters. Bound in 3/4 brown morocco and marbled boards, bordered in gilt-tooling. Raised band spines with gilt-tooled det...

4 Volumes. J.R. Green, A Short History of English People. Illustrated Edition. Bound in 3/4 red morocco and marbled boards bordered in gilt-tooling. The...

1 Volume. Emma Roberts, Hindostan. Bound in full red morocco with the covers displaying open-tooled central details, and gilt-tooled floral bordering details. The spines display raised bands, label lettering, bordering, and panel details, all gilt-tooled with some open tooling. All of the edges are gilded with floral gilt-tooled dentelles. Includes landscapes, palaces, tombs, temples, the shores of the Red Sea, and the sublime and romantic scenery of the Himalayan Mountains. Illustrated in a series of views drawn by Turner, Stanfield, Prout, Cattermore, Roberts, Allom, etc. Published by Peter Jackson...

6 Volumes. M. Rollin, The Ancient History. Bound in full tan calf with the covers displaying a gilt-tooled border and open-tooled cross-hatching. The spines display red and green mor...

This gilded wood Italian wall mirror is a beautiful and elegant piece of decorative art and furniture from late 19th century. The Louis Philippe style, which was popular during the p...

The Diorama was in a private collection for more than 20 years and is said to have been exposed at the China Exposition 1902 in Copenhagen.This group of Chinese polychromed-decorate...

This Sicilian sofa is a piece of furniture that embodies the elegance and craftsmanship of the Charles X period, which was prominent in France during the early 19th century. The sofa...

8 Volumes. Charles C.F. Greville, The Greville Memoirs. Bound by Bayntun in full navy morocco with the covers displaying gilt and open-tooling. The spines display raised bands, borde...

By definition this incredible Table would be called a; Cast Iron Stable Fitting manufactured by Musgrave & Co LTD. Musgrave Bros began manufacturing in Belfast in the 1840’s and had ...

2 Volumes. Samuel Rogers, The Writings. Bound by Zaehnsdorf in full navy calf with the covers displaying a double border with floral corner flourishes, both gilt-tooled. The spines d...

Antique French Bibliothèque, or antique French bookcase was constructed in the style referred to as Louis Philippe (King Louis Philippe I 1830–1848). Our Antique Louis Philippe French...

1 Volume. Walton & Cotton, The Complete Angler. Bound by Bayntun in 3/4 tn calf and marbled boards. The Spine displays raised bands, figurine panel details, bordering, and label lett...

Antique French Store Counter that would make for a wonderful small Kitchen Island and yes, we can build shelves on the inside as you wish....

2 Volumes. Colonel Wilson, Picturesque Palestine, Sinai & Egypt. Bound in 3/4 brown morocco and linen boards with gilt-tooled borders and title lettering. The spines display raised b...

19th Century English Regency Mahogany Leather Top Writing Desk. There is a small blemish in the leather as shown in the pictures.

This delightful and exceptionally rare steamboat centerpiece exemplifies the remarkable artistry of Chinese export silver. Chinese silver pieces are renowned for their exceptional qu...

1 Volume. James Walter, Memorials of Washington. Edition de Luxe. Bound in 3/4 green morocco and linen boards with a gilt-tooled crest on the cover. The spines display gilt-tooled le...

2 Volumes. Madame Campan, The Memoirs of the Court of Marie Antoinette. Limited Edition. Bound in 3/4 blue morocco and linen boards double bordered in gilt-tooling. The spines displa...

Wonderful “Shabby Chic” rustic antique 2-door small cupboard, still wearing its Original Painted Finish from the 1800s. The Small Painted Cupboard...

Circa Late Victorian era 98 drawer revolving hardware store cabinet. The spinning octagonal top holds 80 wedge shaped drawers with white porcela...

Antique French Store Counter Repurposed by our Old Plank Artisans into a Country French Style Kitchen Island. The Antique White French Oak...

10 Volumes. Samuel R. Gardiner, History of England. Bound in full brown calf with the covers displaying borders, floral corner flourishes, and a central crest, all gilt-tooled. The s...

3 Volumes. G.N. Wright, The People's Gallery of Engravings. Bound by John Mylrea in 3/4 red calf and marbled boards bordered in floral open-tooling. The spines display a black morocc...

1 Volume. Edward Fitzgerald, Rubáiyát of Omar Khayyám. Bound in full brown morocco with the cover displaying floral gilt-tooled detailing with red inlay. The spines display raised ba...

Hailing from illustrious Meiji-period Japan, this lacquer tray showcases the mastery of Japanese craftsmen. Precious materials are precisely inlaid in the lacquer base, creating an a...

Crafted in the mid-19th century, this tall cabinet has a clean-lined form, designed with straight sides, square corners and minimal carvings. The cabinet front is cloaked in a bright...

2 Volumes. Edward Fitzgerald, Rubáiyát of Omar Khayyám. First Edition. Bound by Pagnant in full brown morocco with the covers displaying ornate bordering and central floral gilt-tool...

The Antique Cupboard that was removed from a home we believe may have been in Scotland. The Antique Cabinet, or Cupboard was located in Ireland, but upon cleaning out the Antique Painted Cupboard, we found receipts from the Royal Highland and Agricultural Society of Scotland dated 1967. Certainly not definitive, however, the cabinet is absolutely from the British Isles and more than that, is the fact that no one has attempted to restore, or worse yet, refinish the cupboard. The Patina of Old Original Paint is quite impressive and I only wish we could duplicate it. This Painted Antique Cupboard...

Antique Kitchen Island, Antique Work Table, Kitchen Butcher Block, or Outdoor Serving Table, the choice is yours. For the past 30-years, Old Plan...

Antique French bronze sculpture of a partridge family by Jules Moigniez, 19th century. Exquisitely chiseled and cast, as is almost always the case wit...

A good quality late Regency Period, 19th century, satinwood miniature chest of attractive small proportions having well figured and crossbanded top, over three drawers with original turned wooden knobs, raised on elegant original splayed feet with shaped apron. A chariming little 19th century miniature chest of drawers, which is shallower than most and therefore attractively proportioned. It also boasts beautifully figured satinwood veneers which have retained an excellent colour and patina. This would probably have been made as a travelling salesmans...

Antique Sarab Rug 3'7'' x 8'. A study in camel tones, ecru and darkest brown, with two hexagonal cream medallions surrounded with tiny diamonds enclosing tinier flowers; ecru triangular corners with diminutive cloud bands. Camel border with large X's and smaller stepped elements, and a few little animals. Outer reddish camel, border with floating rosettes. Medium weave, rustic work. Good condition. A cut...

Antique Baccarat Ruby red and clear crystal 8 -light chandelier attributed to Baccarat with original hurricane shades. All decorated in an exquisite flor...

A very good quality, mid 19th century, Victorian Period Mahogany window seat hall bench, of unusually large proportions, having superbly figured...

A set of six French gilt brass and rock crystal eleven light wall lights (7 exterior, 4 interior), mid to late 19th Century, each of large proportions and with four feather crests at the upper section with reflective backs and chains of drops, and long facetted drops below. Approximately 125cm high, 50cm wide with a pleasing and symmetrical form. The upper foliate crestings have large Bagues style rock crystal tear drops hanging from them. Below this rock crystal button chains connect...

A very good quality mid 19th century Satinbirch wood, childs size wellington chest, having eight drawers with original turned wooden knobs, enclosed by Locking Pilaster. Childs si...

The Color Experience: Stained-glass windows “Color is a power which directly influences the soul” (Wassili Kandinsky, Moskou 1866 – Neuilly-sur-Seine, 1944) “Color! What a deep and mysterious language, the language of dreams!” (« La couleur ! Quelle langue profonde et mystérieuse, le langage des rêves », Paul Gauguin, Paris, 1848-Fatu-Hiva, 1903) ‘Color and feeling’, ‘color and meaning’, these are concepts that have gone together since time immemorial. Artists and craftsmen have a special bond with color. After all, it is a means of expression that can have a real reinforcing effect. Especially linking color with light offers unlimited possibilities. Glaziers and glass painters have tried to master both these ‘instruments’ for centuries. The set of beautifully restored neo-Gothic windows in our collection are enough reason for us to let these works of art figure in a broader story. As a bonus, we would like to introduce you to the contemporary stained-glass artist and stained-glass restorer, Daniël Theys. whose workshop is in Sint-Pieters-Rode (Belgium). He talked to us about the materials and techniques he used for the restoration of our set of neo-Gothic stained-glass windows. A fascinating look at the tricks of the trade from a specialist! A bird’s eye view of the history of the European stained-glass window. Although the Romans already used translucent glass plates to cover wall openings, the stained-glass window reached its peak in Europe between 1150 and 1500. A period also known as the era of the cathedrals. At that time, stained-glass windows became more than just a way to let in the light, and to keep the space closed off. From now on, their functionality was also found in their didactic value. The biblical and saints’ stories that adorned the stained-glass windows became a kind of poor man’s bible. They brought, as it were, the knowledge of the holy scriptures in an understandable, pictorial way. At the same time, the colored light provided additional symbolism. The invading light was interpreted as a manifestation of God. It is also no coincidence that the main altar was bathed in light. It was the place where the most important sacrament was celebrated, that of the Eucharist. How were these magical colors obtained? Well, during the 12th and 13th centuries, metal oxides gave color to the glass. Copper, for example, produced different colors in the various stages of oxidation. The metal could color the glass light blue, green and even red. It should be noted that from the 13th century onwards, clear glass, which was cheaper and at the same time allowed more light into the buildings, was used more often. A century later, in the years 1400 to 1500, glass painters frequently painted onto the glass with a ‘stain’ of silver chloride or sulfide. The painted piece of glass was heat-treated in a furnace. The heating process ensured that the silver ions migrated into the glass and became suspended within the glass network. The stain gave colors ranging from a pale yellow to a rather deep red. This new technique allowed glaziers to get more than one color on a single glass fragment. The shades produced by painting in silver chloride were well suited for depicting golden crowns, scepters and other gilded objects and ornaments. But the most important advantage of the technique was the fact that the glass painter could now make transitions from yellow tones to white without having to apply separations with lead strips! This also improved the legibility of the pictured scene. You can imagine that the labor-intensive process of the production of stained-glass windows was a very costly affair and therefore it was often patrons who donated them to a church or a chapel. The benefactors were usually eager to propagate their social status and were moved by concern for their salvation. In the 16th century, stained-glass windows also began to appear in secular buildings such as town halls, the homes of the wealthy and commercial premises such as inns. It is striking that during this period the use of lead strips that border many parts of the image was further reduced in favor of real painting on stained glass. This was due to an increasing love of detail. For example, one wanted realistically painted portrait heads. Working with enamel paints was cumbersome. Each newly applied color had to be burned into the glass before another color or overpainting could be applied. It was not only the coloring of the glass that was complicated, the process of obtaining flat glass plates required many steps as well. The glazier blew a glass bulb with a blowpipe and then cut it open. Finally, each half of the sphere was turned around so fast that it became a disc. In later periods, the glazier blew out his glass bulb into a cylinder. Once the cylinder had cooled, its closed ends were removed, and the long sides were cut open. The pieces of glass obtained were then heated and flattened. During the 16th century, there was a division of labor between the stained-glass designer, the glazier, and the glass painter. It happened as well that the stained-glass artist used prints as models for his stained-glass windows. Whoever drew the design, the glazier always needed a model on the right scale, the so-called cartoon. On the cartoon, the lead strips were clearly marked, and the use of colors was indicated. Contracts at the time show that the price of stained-glass windows was calculated per square foot. The price per square foot included the labor and material costs. The price of the cartoon was not included. In the 17th century, the work of glass painters remained important. At the same time, there was a growing popularity of stained-glass windows with heraldic themes. In the Low Countries there were several high-quality glass painters active. During the 18th century, glass painting went downhill in our regions. The French occupation of the Southern Netherlands resulted in the destruction and sale of religious stained-glass windows. It was only around the middle of the 19th century that the young Belgian state experienced a revival of stained glass. The renewed interest in the Middle Ages, the so-called ‘gothic revival’, caused a wave of restoration of old stained-glass windows of churches and orders for neo-gothic stained-glass windows. The Sint-Lucas art schools in Belgium played an important role in this. Industrial developments in the glass and steel industries naturally had an important hand in the popularity of stained-glass windows. Stained-glass had a wide range of uses; think of stained glasses in winter gardens, domes, windows, and doors of large mansions. Significant glazier’ studios arose in several larger Belgian cities. In Brussels, for example, you had the workshops of Capronnier and Colpaert, in Bruges the studios of Coucke and Dobbelaere, in Ghent the companies of Ganton-Defoin or Ladon. During the 19th century, glaziers followed the style developments in the visual arts. For example, the number of windows in Art Nouveau and Art Deco style is large. The restored stained-glass windows with male and female saints that we offer for sale, come from a building in Laeken, near Brussels. They probably decorated the space of a church, chapel, convent, or Catholic school. In the results of the interview with glass restorer Daniël Theys, you will learn more about the particularities of these splendid windows. Chatting and browsing in the workshop of Daniël Theys The Belgian Glass restorer and glass blower, Daniël Theys (), made a career switch at a later age and has been active in the profession since 1987. He is an important player in the field of stained-glass window art in Belgium. Moreover, he is the only one in the country who still masters the technique of glass etching. Daniël Theys receives many commissions from small parish churches to restore old stained-glass windows to their former glory. He made a name for himself in that niche and that is how Spectandum brought the set of 19th century stained glass windows to his workshop for reconstruction. They were delivered in old numbered wooden crates and Daniel had to start puzzling. Numbered wooden crates with sections of the stained-glass windows Normally a glazier starts working from a drawing with a scale of 1:1 (full size drawing), but in this case each piece had to be cataloged and photographed. The smaller pieces were grouped on the light box and photographed in their entirety. Then Daniël made a drawing of the remaining pieces that he had puzzled together with great care. Smaller pieces identified and grouped on the light box The restauration guidelines of the Agency for Monuments and Landscapes are not always the same as those of a restorer. For this reconstruction, Daniël primarily considered the purpose of the stained-glass windows. It had to be an aesthetic and salable set of stained-glass windows, so the choice of filling the gaps with neutral glass or epoxy was not really an option. Theys left well-executed previous restorations untouched. The windows may have been repaired three or four times in the past. Piece of a cloak with glass shards from different periods (restorations) Another problem Daniel faced during the restoration was the fact that some small parts of the old grisaille had been eaten away by microorganisms. The defect – caused by moisture – can be seen from the discoloration of the grisaille. The black-brown color is turned red. This fragment shows well how the brown grisaille has turned red due to the attack of micro-organisms The stained-glass windows of the 19th century are made of ‘in the mass-colored’ glass. This means that the colors were added to the liquid glass during its production process. This type of glass differs from glass colored with enamel paint, which became popular from the interwar period. The latter process involves applying enamel paint (this is a glass powder with a metal oxide to which a medium has been added) to the colorless glass. When firing the glass with the enamel paint, the powder fuses with the glass. The colors of email painted glass are less intense and less brilliant than those of ‘in the mass-colored glass’. Jars with colored powder for the enamel paints For the restoration Daniël only worked with mouth-blown glass, both with ‘in the mass-colored glass’ and with ‘verre plaqué’. This is blown glass composed of several layers of different shades. Over the years, Theys built up a large stock of old blown glass. Colored blown glass always has sliding shades. For example, a red piece of glass can have a color transition from bright red to light orange. These differences in shades are the result of the different thicknesses of the piece of glass. It allows the glazier to use a wide variety of shades. The purple-red foliage with light blue accents was obtained by etching away parts of a piece ‘verre plaqué’. A small part of the lower glass layer is exposed. The windows were completely re-leaded by the restorer because there was virtually no ‘lead net’ preserved. In general, lead strips only have a limited lifespan because of oxidation processes. Daniël removed the old lead remnants and placed new lead profiles. Then he applied putty between the glass fragments and the lead strips to seal the lead. A window must be made watertight. The current condition of the windows is excellent. Decorative glass part with original lead remnants New lead strip The set of stained-glass windows we present today, originally consisted of windows of 5 to 6 m high. After all, they originally adorned a neo-gothic church. Since the original dimensions are not suitable for private buildings, it was decided to only restore the figurative representation. The original spire of one of the windows Thanks to a suspension eye, the window can be hung. There is also the possibility to place the window in an upright position. Thanks to the craftsmanship of the Theys-Studio, we can once again enjoy the brilliance of color! Looking for the missing link The set of 19th-century stained-glass windows came into the possession of Spectandum without a clear provenance. The renowned Leuven antiques dealer, Cornelius Engelen, recalls that the windows came from a church in Laeken. There is no solid starting point for a search for the provenance. Based on the style of the stained-glass windows – most probably the late 19th century -, their religious iconography, and their original shape (pointed arch windows) and dimensions (5 to 6 cm high), we can assume that they were once displayed in a (neo-)gothic cult building. On the one hand, the stained-glass windows may have been removed after storm damage or other calamities, on the other they may have been taken away during a renovation or a demolition of a church. The Church of Our Lady in Laeken is the most famous church building in that municipality that could qualify. In the early 1920s, the central windows of the transept were badly damaged by a hurricane. Today, glass fragments of these windows (dating from 1893-1894) with the names of the sixteen missing saints and an arch infill of the western window are officially known. It would be interesting to find out if our set of eight saints once were part of the transept of Our Lady in Laeken. Research in the records of the church administrators could provide clarification. Knowing that most neo-gothic stained-glass windows from the Church of Our Lady come from the Jules Dobbelaere’s glass studio in Bruges, it is useful to consult that company’s archive as well. It is kept in the KADOC (Documentation and research center for religion, culture and; in Leuven. Of course, the sizes and shape of the stone window openings of the transept can also provide an indication. If we stylistically compare the grisailles of the set of stained-glass windows with the work of Jules Dobbelaere, we do see some relationship. Especially with a stained-glass window in the chapel of Our Lady of the Saint Anthony Church in Aalst. Another line of research that we could follow, is that of the iconography of the series. One of the saints depicted is Saint Roch. There once was a Saint-Roch church in Laeken with 19th-century stained-glass windows from the Brussels studio of Jean-Baptiste Capronnier. The company archive of the glaziers François and Jean-Baptiste Capronnier is owned by the Flemish government and can be consulted in the above-mentioned KADOC. We already searched the sales catalog of 1892, in which Capronnier’s drawings and cartoons are described one by one. The saints that are represented in our set of windows, does not correspond with the names of the saints mentioned for the church of St. Roch in Laeken. Building on this argument, it can be concluded that the eight saints were not destined for this house of worship. In the absence of lavishly illustrated monographs on the various glazier-companies in Belgium, the execution of a comparative study of the stained-glass windows is time-consuming and complex. Although a limited number of old photos of stained-glass windows can still be found in the database ‘Balat’ of the KIK-IRPA (), this remains far too limited to get a good picture of the output of the various companies. 19th C, Saint, Neo-Gothic Stained-Glass Window with Saint Martin, Belgium, 163 x 73 cm Most people know Saint Martin (Szombathely, ca. 316 – Candes, 397) as the Roman Tribune who cut his cloak in two with his sword and gave one half to a beggar. The artist of the stained-glass window has opted for a different, less common iconographic representation here. Saint Martin is presented as a bishop with a miter and staff. According to a legend, Martin was lured to the city of Tours with a trick to consecrate him as a bishop. He refused the ecclesiastical office and hid in a barn with some geese. The birds betrayed him with their twittering. In the end Martin received his episcopal consecration. The goose at the feet of the saint clearly refers to this event. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Angela, Belgium, 163 x 73 cm Angela de Merici was an Italian woman who taught young women religion, health care, and household skills. She founded the monastic community of the Ursulines. They played an important social role as founders of schools and orphanages. Saint Angela died in Brescia in 1540. It should therefore come as no surprise that the saint on the stained-glass-window is depicted with a girl by her side. 19th C, Saint, Neo-Gothic Stained-Glass Window with Charles Borromeo, Belgium, 163 x 73 cm Charles Borromeo (Milan, 1538-1584) grew up in a noble family. He was already made Cardinal and Archbishop of Milan at the age of 24. With his writings he contributed to the implementation of the Church reforms determined at the Council of Trent. Among other things, he released a new catechism. With his book on the design of church buildings, “Instructiones Fabriacae et Supellectilis Ecclesiasticae”, he left a mark on Baroque church construction. At the outbreak of the plague in his diocese in 1576, he devoted himself to the care of those affected. Hence, people sometimes pray to him when they have been hit by a serious illness. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Roch, Belgium, 163 x 73 cm Saint Roch (Montpellier, 1295? /1350? -1327? /1380?) was born with a port-wine stain in the shape of a cross on his left hip. It was interpreted as a sign from God. After the dead of his parents, he gave his money to the poor and went on to live the life of pilgrim. He cared for plague sufferers and healed some of them by making a sign of the cross. He is especially invoked as protector against the plague. 19th C, Neo-Gothic Stained-Glass Window with St. Bernard of Clairvaux, Belgium, 163 x 73 cm Bernard of Clairvaux (Fontaines, 1090-Clairvaux, 1153) decided to become a monk at the age of 21. In 1112 he entered in the monastery of Cîtaux. He was soon commissioned by the abbot to find a new monastery in Clairvaux. Because of his intellectual capacities and eloquence, he was consulted by various ecclesiastical and secular leaders. He ensured the expansion of the Cistercian order throughout Europe. As a Doctor of the Church, he wrote many tracts and sermons and established a new rule for the Templars. Above all, he was concerned with the discipline of the clergy. Therefore, he wrote a spiritual manual for the priests and bishops. Saint Bernard can be seen as a true mystic. He envisioned the union of the human soul with God as the most important goal in life. According to a legend, Bernard once had a vision in which the Blessed Virgin appeared to him and strengthened him with her mother’s milk. In the arts, the saint is mainly depicted with an abbot’s staff and a book with the Cistercian rule. His vision was also often portrayed. 19th C, Neo-Gothic Stained-Glass Window with St. John Berchmans, Belgium, 163 x 73 cm The Belgian Jan Berchmans (Diest, 1599-Rome, 1621) was the eldest of five children. When his mother became seriously ill, he initially took care of her, but at the age of nine he was housed with the town’s priest. After a few years he moved to Mechelen to become the servant of a canon. It also gave him the opportunity to begin his studies in the seminary for priests. He eventually joined the Jesuits of Mechelen. He got their permission to study philosophy in Rome. In the Eternal City, he visited working-class neighbourhoods to teach the children about God. He died of an illness at the age of 22. Saint Jan Berchmans is the patron saint of school children and students. 19th C, Neo-Gothic Stained-Glass Window with Saint Clare...

Unique The pair of monumental French bronze column torchieres with acanthus leaf gilt bronze mounts, supporting two tiers of acanthus and scro...

This rare and important pair of George III mahogany wine coolers epitomizes the graceful Neoclassical aesthetic championed in the Georgian style. Crafted of the finest quality mahoga...

A Very Good Quality Late 19th Century Burr Walnut Baby Sutherland Type Coffee Table, Having Superbly Figured Oval Drop Flap Top, Raised On Elegant Turned Legs And Supports Retaining Original Castors. The epitome of versatility, Baby Sutherland tables are one of our best selling articles. This one is veneered with attractive burr walnut and stands at coffee table height, which means that with both flaps raised it makes a great portable coffee table with the additional bonus of being able to have its flaps folded down and can be tucked away when not in use, taking up effectively no floor space whatsoever of consequence. The term “Sutherland Table” is believed to originate from the first full size, non “baby” variants of these tables being named after The Duchess Of Sutherland...

The abrashed straw-beige field ten light chandelier suspended above a densely fruiting and flowering plant in a vase, , with pomegranates, carnation, lantern fruit, and peaches Striped, fluted and banded lateral columns. monkeys add to the general playfulness. Rounded interior arch above. Ceam main border with rosettes and palmettes. Idiosyncratic scatter with designs taken from everywhere and artfully combined. Fine urban SE Persian weave...

An amazing blue light and silver lacquered Venetian chest of drawers, lacquered green fake marble on the top, it's in original conditions with normal signs of use and age visible on ...

A fine quality, charming 19th century Regency Italian late baroque period walnut 2-drawer table, late 17th/early 18th century period rosewood writing box h...

In fairly good condition, this velvety pile, short-clipped arcade pattern carpet shows two candy-cane striped pillars with fluted capitals upholding rounded arches with navy palmette...

A Good Quality Regency Mahogany Boat Shaped Canterbury Having Elegant Turned Upright Supports And One Well Figured Frieze Drawer Raised On Elegant Turned...

Framed in hand-carved rosewood, this 19th-century hanging lantern casts a soft glow through frosted glass. The lantern has a square frame, with straight sides and gently arched tops carved with abstract...

Wonderfully presented Georgian bleached pine breakfront bookcase. George II carved egg and dart in upper and middle moldings. Raw pine and finish may be original with cleaning over t...

A Good Quality And Charming Early 19th Century Mahogany Miniature Chest, Having Well Figured Top Over Three Long Drawers With Original Brass Knobs And Boxwood Inlaid Escutcheons, Over Elegant Shaped Apron With Original Splayed Bracket Feet.  There is regular debate over whether miniature furniture was made as an apprentice piece, which is when a craftsmen who was looking for a job at a workshop would create something to showcase their talents. Or whether it was made as a travelling salesmans sample piece, which is when a few items were produced as scale models but a well established workshop as a form of physical catalogue in advance of a travelling salesman’s road trip around the country, for him to use to try and fill his order book with full size counterparts. We believe that this particular little Georgian Miniature Chest was probably made as an apprentice piece, due to the relative simplicity of it, combined with the exceptional execution, which maybe suggests that somebody was very much trying to impress somebody else. It is also slightly unusual in form, which again suggests it was made more as a one off item with a specific purpose, as opposed to a scale model of other items. It is certainly a charming piece of antique miniature furniture...

This stunning pair of silver and agate tazzas by prominent Parisian goldsmith and jeweler Jules Wiese exhibits a classical elegance. The warm beauty of the...

This amazing pair of life sized pugs are realistic and beautiful. We feel they are as good as one could hope for in a sculpture of this breed. They were meticulously detailed to look life- like. They were hand painted with the appropriate colors and the glass eyes really enhance the look. We feel they were done by the great Austrian sculptor...

A very fine quality and extremely rare mid 19th century mahogany buffet, of important, imposing proportion, having finely carved pelmet with scrolling ga...

An imposing and fine quality pair of early 19th century French Tole Peinte and parcel gilt wall lanterns with outstanding original finish. French early 19th century - circa 1820. These extremely impressive unique wall lanterns of imposing scale have a wonderful original finish. Of frosted glass vase shaped form, the imbricated “fish scale” domes...

Finely carved mid 19th century Italian giltwood open armchair of wide proportions in the Rococo manner. Italy, Venice Circa 1860. The asymmetrical scroll and leaf-carved top rail, centred on a stylised shell within over scrolled uprights, above a newly upholstered grey silk padded and dished seat between scroll-ended arms, raised on a decorative foliate carved scrolling X-frame base with a conforming central stylised shell. In excellent condition having a wonderful look to the gilt work this gondola style chair...

Matched pair of English lead planters with classical garland and urn detail on all sides. Generous size and gorgeous presence. Very heavy.

Extremely fine pair of decorative 19th Century Italian painted and parcel gilt armchairs of neo-classical design. Italian Late 19th C - Circa 1880. Oozing style these very attr...

We have been importing Antiques from Europe for over 30-years and never have we discovered another Antique that can measure up to the quality standards of this French Cabinet and it’s not even a close call. The carving, the fine details, the incredible thickness of the walnut, for everywhere you look, this antique French China Cabinet...

A very unusual late regency period rosewood and Parcel gilded wall mirror of incredibly small proportion Having attractive painted decoration and original plate (This mirror is ...

A very attractive and charming late 19th century Victorian painted pine miniature chest having two short drawers and two long drawers with original porcelain knobs raised on elega...

Beautiful Green Background Antique Persian Sarouk Farahan Area Rug, Country of Origin: Persia, Circa date: 1880. Size: 9 ft x 12 ft 5 in (2.74 m x 3.78 m)

This charming pair of Meissen porcelain figures celebrates the essence of Revelry. First modeled by the renowned Johann Joachim Kändler on bases by Peter Reinicke, circa 1767, these ...

A fine pair of Regency period rosewood wine tables, or lamp tables, having highly figured square tops raised on elegant carved spiral twist turned stems terminating on umbrella tripo...

Small Biedermeier cabinet, Northern Germany or Denmark, circa 1820, mahogany veneer. Beautiful veneer grain and nicely carved details. In very good condition.

A late 19th century oriental hardwood stand or coffee table having marble inset Shaped top and carved decoration raised on cabriole legs with under t...

A very good quality and charming early 19th century Georgian mahogany oblong lamp Table having superbly figured top with shaped Corners over one frieze drawer, opposed by Dummy d...

Elegant Empire commode, Denmark 1810-20, mahogany veneer. In very good refinished condition, French polished. The commode will be shipped from Germany, shipping costs to Boston are i...

A delightful mid-19th century mahogany childs size Wellington chest of five long drawers with locking pilaster raised on original plinth base.

A delightful late 19th century miniature oak kitchen Windsor armchair having attractive turned decoration to back, seat, legs and supports (A most unusual and charming item of ...

Biedermeier wardrobe, South German 1820, walnut veneer. Classic Biedermeier design with beautiful veneer grain. the cabinet is refinished and French polis...

A set of four Biedermeier chairs, Switzerland, 1820-1830, walnut veneer. Beautiful back with a “Pretzel”decor and a beautiful carving on the top of the chair. The chairs are in good ...

19th Century W. Persian Senneh Garrus Carpet ( 13'10" x 20'9" - 422 x 632 )

A very attractive and good quality nest of four oriental hardwood coffee tables having superbly figured panelled tops and pierced carving to frieze.

Antique Persian silk Heriz carpet, country of origin: Persia, date: circa late 19th century. Size: 10 ft x 13 ft (3.05 m x 3.96 m) Here is a stri...

Large antique Persian Ziegler Sultanabad rug, country of origin: Persia, date circa late 19th century – Size: 14 ft 5 in x 22 ft 3 in (4.39 m x 6.78 m) This elegant antique Ziegler carpet showcases the versatile proportions, stunning Safavid-inspired designs, carefully selected colors and other beloved traits that made the firm’s legendary rugs prized throughout Europe and Great Britain. The posh ivory field features grand botanical ornaments surrounded by flourishing floral sprays that are defined by delicate hairline details. Oxidized terra-cotta reds and softly abrashed Persian blues have a marvelous, elegant effect when paired with the soft white ground. The beautifully aged colors and abrashed hues add to the nuanced, timeless beauty of this antique Ziegler rug...

Exceptional early Biedermeier corner cabinet with three open shelves and one drawer. Mahogany veneer with ebonized columns and brass capitals and bases. The cabinet was made in south...

A superb pair of gilt armchairs, France, Napoleon III period, signed Quignon. Frederic Gustave Quignon, son of Napoleon Quignon, was born in ...

An exceptional pair of hand-chased doré bronze candelabra by the distinguished French sculptor Eugène Lelièvre, and foundered by Susse Freres of...

Splendid continuous hand-painted scenes adorn these graceful and rare Viennese silver and enamel candlesticks. Adorned with scenes of gods and goddesses from classical mythology, these lights are executed with exceptional detail and artistry. A fantastic testament to the skilled artisans of Austria, they exemplify remarkable design and craftsmanship. Enameling is one of the oldest forms of decorative art with examples dating back almost 3,000 years to Mycenaean Greece. The methods used in the enameling process have changed very little since that time. Enamel is actually glass colored with metallic pigments that are fused to metal by firing. Because different colors fire at different temperatures, it was essential that the artist paint the colors that required the highest heat first, adding the others in descending order of their firing temperature. The forte of the Viennese enamellers...

Sterling silver and crystal flask, Tiffany and Co., 1893. Decorated with aquatic motifs, including waves and bubbles Made for the 1893 Chicago World's ...

Each depicting a marine scene with shells and corals, with a gilt rim. Signed William Mussill.

Modeled by Herbert Warrington Hogg and painted by John Porter Wale.

Water Gilded and Carved Center Table with original Marble