Building and Garden Elements

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...

These remarkable 18th-century hippocampi, hand-carved from Vincenza stone, are exquisite representations of artistry and craftsmanship from a bygone era. Originating from the Veneta ...

Many Avant Garde architects and designers of the 1960s / 70s became fascinated with the idea of minimal living, a secluded retreat, escape from the hustle and bustle of everyday life and relaxation in the middle of nature. Thanks to new pliable materials, plastics, with their free and easy formability, lightness and especially their novelty, they developed micro bungalows and houses as either secondary vacation homes or for use in gardens. Italian developer Carlo Zappa undertook the challenge of designing and producing such a micro bungalow which eventually became commonly known as 'BANGA' .The first models rolled off the production line in 1971 and went through three production phases before production eventually ceased in 1985. Carlo Zappa not only developed the initial project, but personally executed the moulds, construction solutions, all the services detailing ie electrical, plumbing and metal hardware. Zappa's micro bungalow featured a total of 8.1 square meters of floor space. It offered space for up to three people thanks to a bunk bed, which could be folded down as a sofa during the day. A small bathroom with wash basin, shower / toilet, a small kitchen unit with sink and water heater...

Iconic pair of neoclassical style Montecito junior chairs designed by Michael Taylor. Model number MTD-1770 junior chairs are slightly smaller than full sized Montecito chairs. The c...

Andirons in brass and wrought iron. Two sizes available.

Fabulous genuine labeled Thinline patio and garden suite consisting of one large round dining table and four matching dining chairs. Mid-century modern design crafted from Santa Ana,...

Antique 19th century English Victorian bench. Listing features cabriole legs, caned seats, balloon backs, solid wood construction, beautiful wood grai...

This impressive fireplace mantel was executed by Maison Jansen in 1968 for a mansion in Paris 16th arrondissement, under Pierre Delbée supervision. Executed in brushed stainless stee...

Torch cut bent wrought iron andirons.

Mario Marenco 'Marenco' Outdoor Sofa 255cm for Arflex. New, current production. The iconic 'Marenco' series, but then for outdoors and in wonderful new fabrics. Linear sofa with so...

A whimsical pair of early 20th century English faux bois planters to add organic texture to any interior or patio. The reconstituted stone (a concrete mixture) has the familiar stria...

This timeless beautiful Italian classical sink is cut from one single block of white marble, these designs have not changed since Greek and Roman times, it carries superb artistic me...

Cast bronze sculptural wind bell with great patina by artist, architect and visionary, Paolo Soleri. This piece was made at his Cosanti studio in Arizona by the artist who originally...

Solid nickel plated andirons by Jean Charles with wrought iron.

Step into history with this remarkable cast iron spiral staircase, once a part of Boeing Plant 2 a legendary factory built in 1936 in Seattle, Washington, USA. This architectural piece has a rich history tied to the production of some of the most iconic aircraft of the 20th century, including the Boeing B-17 Flying Fortress...

A good monumental antique American 3 Tier Cast Iron Fountain attributed to J. W. Fiske, New York, Circa 1870. The base adorned with three standing storks their heads facing down and wings spread, their backs facing against the base of the pedestal. The lower bowl is 48 in diameter, with ribbed decoration and a gadrooned design to the edge of the bowl. There are two corresponding smaller graduated bowls above, each joined with ribbed columns and leaf decoration, water is expelled from the top of the column and then cascades down to the bowls. The fountain is in two sections, with traces of paint and oxidation from being outside, the fountain can easily be re-painted, shot-blasted or powder-coated, or left exactly as it is. In good condition with no breaks or repairs, this wonderful antique fountain is ready to grace your space. Provenance; From a fine New England estate J. W. Fiske & Company of New York City was the most prominent American manufacturer of decorative cast iron and cast zinc in the second half of the nineteenth century. In addition to their wide range of garden fountains, statues, urns, and cast-iron garden furniture...

Rare and original fireplaces By Sue et mare, completely, cleaning and restored. ready to placed. signed by the ceramic company (Gentil-Bourdet ceramiste Bi...

This magnificent Chinese antique colored glaze ceramic lion statuary are hand made and hand carved in Museum quality. According to historical books, lion...

A set of two door handle sets with oval lock/key covers in patinated brass (photo 1 and 2 of each set). The solid brass spindles are thick and rounded of softly due to excessive use ...

Pair of Mid-Century Brass and Black Iron Andirons, 1950s, Jacques Adnet & Jean Royère Style Description: This elegant pair of small andirons from the 1...

We are now manufacturing this model in Carrara Marble Bianco. Custom sizing available As tradition this timeless Italian classical sink is cut from one single block of white marble, ...

Amazing period piece. Beautiful small iron door that most likely once had its place in an Italian Chapel. It is depicting Saint George killing the dragon. Beautiful naive style. Ital...

Calacatta Viola marble sinks are crafted from high-quality, Italy-sourced natural stone. Due to the natural formation process of the marble, each piece features a unique veining patt...

A pair of reclaimed Italian solid brass art deco door handles. This beautiful pair of solid brass handles sit across double doors. The back of the door handles have three screw holes...

Mid-Century Modernist iron Ikebana tripod planter from Japan. 1960s

Add a touch of timeless romance to your outdoor space with this vintage cast iron bistro set, featuring two ornate chairs and a matching round table topped with glass. Crafted in a t...

A pair of lovely Ridgeway stoneware cachepots and stands with neoclassical decoration and three scenes in cartouche. The design is done in white rel...

1787 French hand hammered and brass jardiniere

A very well crafted and intricately designed Arts and Crafts period Iron three panel Fire Screen. A large, accurate and beautifully crafted Spider sits in the center of his web agai...

Roger Tallon for Galerie Lacloche, 'Helicoid' staircase, aluminum, rubber, France, design 1964, production 1960s This striking staircase with a rubber step surface is called the 'He...

A unique piece of history, this architectural fragment was salvaged from a building in downtown Los Angeles, capturing the character of its era.

A pair of unique Gio Ponti wood panels from the furniture of the Hotel Royal in Naples, 1955. Manufactured by Giordano Chiesa by Dassi. cherrywood thick edge with owl's beak these pi...

This striking pair of sculptural planters was designed by Willy Guhl for Eternit in the mid-20th century. Crafted from fiber cement, these biomorphic planters feature an organic, und...

Italian 1970s Torchon Ring Wrought Iron Andirons

An early 20th Century French Iron Plant Stand. An amazing jardiniere stand for a garden room, kitchen, bath or outdoor patio or balcony. Narrow enough for a smaller space, unlike mo...

Slick and clean vintage porch, patio, garden, or poolside glider having a wrought iron frame, with a continuous seat and back rest. This example is excellent, clean, original, ready ...

“Florentine” pattern one of the most sought after of the Brown Jordan designs by Richard Frinier, circa late 80s. Pair of reclining lounge chairs with ottomans. Original Hunter green...

Crafted from elegant Green Guatemala marble, this deluxe bathroom set is designed to enhance both the beauty and functionality of your bathroom, spa, or hotel. The set includes a re...

24" x 15" x 3.5" Classic Limestone Sink custom sizing available made to order

Lovely old chippy white paint over terracotta pair of shell seashell planters pots. Drainage hole inside. Dimensions: 8 H x 16 W x 11 D.

Beautiful and very rare hand-carved white marble water basin or sink, Italy, circa 1750-1800. Weathered. H:7cm W:26,5cm D:22,5-26cm

Mario Marenco 'Marenco' Outdoor Lounge Chair + Ottoman for Arflex. New, current production. The iconic 'Marenco' series, but then for outdoors and in wonderful new fabrics. Linear ...

Large Hollywood Regency rectangular tall jardinière or drinks corner, Gold leaf, gilt iron, France, 1940s. This elegant tall plant stand is entirely made by hand. It features a leafe...

Neoclassical style set of six patio dining chairs from France, composed of two armchairs and four armless side chairs, circa 1960, recently sandblasted and powdercoated in a gorgeous...

19th century French Napoleon III Period fireback witha decorative fruit bowl. The fireback has a natural brown patina. Upon request it can be made black / pewter color with stove po...

WWII era classic Navy ship's bell cast in iron with raised lettering, "U.S.N." The bell features all its original components with a bracket for hanging. Bells during this period were...

Ercole small fire pit by AK47 design. Grey concrete fire pit Ø1500 mm. Ercole is a outdoor wood-burning fire pit. It is born by the union of tw...

Giovanni Offredi for MC Selvini, 'Elitra' staircase, ash, plywood, brass, Italy, 1980s A pragmatic and visually appealing staircase created by Italian designer Giovanni Offredi for ...

Ugo Trevisan, fireplace, copper, iron, stone, Italy, 1960s This Italian fireplace, designed by Ugo Trevisan, emerges as a monumental creation, characterized by its peculiar presence...

Large vessel for indoor and outdoor use. Can be made with drainage holes. At the intersection of art, craft, and design, Concrete Poetics' debut collection of hand-cast cement sculp...

This French cast iron garden table from the late 19th century expresses Beaux Arts tastes of the period in Neoclassical motifs decorating...

Antique Lantern Cloche – C A stunning octagonal lantern cloche, salvaged from France. The cloche creates a miniature greenhouse and provides a beautiful form of protection of plants...

This stunning 18th-century period fireplace mantel, sculpted in exclusive Royal Sarrancolin Fantastico marble, showcases intricate carvings and decorations, including a central shell...

Robert Maxwell Cermaix Pot with contrasting glaze. The pot has no chips or cracks; it has been drilled for water drainage.

A stunning vintage brass garden armillary sundial USA, Late 20th Century Measures: 10"W x 7.5"D x 11"H Very good vintage condition.

Handmade carved walnut sink, a stunning blend of natural beauty and artisanal craftsmanship. This unique piece features a rich, warm walnut finish that highlights the intricate carvi...

This vintage planter by Swiss designer Willy Guhl for Eternit is an iconic example of Mid-Century Modern garden design. Crafted from durable fiber cement, it features a distinctive f...

18th century Dutch log basket. The firewood basket is made of polished brass and has a wrought iron handle. Also called 'aker'. Used to draw water from the well and cook over an open...

Wrought-iron fire screen by Ateliers Marolles, 1950. Beautifully crafted ironwork with farmyard animals, figures representing pigs, dogs, cows, roosters, donkeys etc. .... Metalwork...

Vintage Italian brass-finish plant stand (circa 1960s). For plant lovers who are searching for a greenery receptacle with vintage character and boundless style, this is for you. Disc...

Classical Marble sink Basin The shell hand carved and Integrated into one square block of marble 20th century 30" wide Bowl size : 20" x 15" x 4" 53x37x10

Two sleek, heavy and elegant mid-century door handles in full bronze. Manufactured by valaistustyö and designed by Alvar Aalto himself. Very practical yet stand out as sculptural pie...

Reclaimed from a castle in Caithness, England, this majestic 115" high mid-18th century hand-carved limestone fireplace is a truly rare and captivating royal masterpiece. It represents an artistic mix of elegance, history and sophistication that has been extremely well kept throughout the years. The perfection within the details of this two-tiered fireplace is quite fascinating. It is a true representation for the skilled craftsmanship and sculptural artistry of the period's master carvers. Engraved right into the trumeau center of this monumental antique mantel...

A very nice antique wooden fireplace mantel. This lovely fluted antique mantel is build up in 4 parts, two legs, the frieze and the topshelf....

French Garden Statue Of Venus. Offered is a beautiful French concrete or cement garden sculpture of Venus. This lovely garden statue, garden sculpture or garden ornament would look g...

Upgrade your outdoor seating with this set of six 1940s Iron & Steel Garden Patio Bistro Cafe Chairs by Francois Carré. Newly powder coated in a beautiful garden green, these chairs ...

This captivating pair of Neoclassical cast iron garden urns from the 19th century exhibits all the elegance and grandeur of the period. Painted in a blue-grey, these urns feature iconic and timeless details–perfect for adding a touch of traditional sophistication to your interior or patio. The heavy iron construction is designed to weather the elements, proven by the time-worn patina adding character and charm to the exterior. Ideal for both decorative and functional use, these urns are a fantastic addition to any setting, offering a blend of history and cultivated style. Please view the detailed images. Sold as a pair...

Classical Kitchen Marble Stone Sink Basin This timeless beautiful Italian classical sink is cut from one block of white marble, it carries superb artistic merit easily fitting in wi...

Introduce warmth and elegance to your space with this stunning antique marble fireplace from Provence. The combining shades of grey-blue, bleu-Turquin, and reddish-pink, Fleur-de-Pêc...

This timeless beautiful Italian classical sink is cut from one single block of white Carrara marble, the circular design is taken from Greek and Roman times. The piece carries superb...

Remarkable set of 4 French leaded stained slag glass windows. Features a central pink jeweled Neoclassical bow flanked by fleur de lis above a teardrop tasseled design. The window ha...

An early-midcentury nostalgic door hammer with a depiction of admiral Lord Nelson's warship 'The Victory' or HMS Victory to its front. It is executed in solid brass and measures: 7x6...

A large vintage ceramic swan jardinière planter or cachepot. Beautifully detailed and hand painted with a pearlescent glazed finish. Dimension: 16"W x 11"D x 17"H