Furniture

Mogens Koch for Rud Rasmussen, modular book case or library, mahogany, Denmark, design 1928 Intriguing and substantial modular library by Danish designer Mogens Koch. This piece is ...

Mid-Century Modern inspired Penedo Showcase, Hand-Crafted in Portugal - Europe by Greenapple The Penedo marble cabinet captures the enduring beauty of nature’s landscapes, shaped a...

Paul Evans for Paul Evans Studio, welded and enameled pewter, copper, and bronze, reupholstered leather, United States, 1971 Designed by Paul Evans for Paul Evans Studio, this sofa ...

This is very high quality 19th century country house armchair. Impressive deep seat and feather seat cushion. The whole design is elegant as well and the carved front legs are a beau...

Original film movie poster for Hitchcock classic Vertigo. Saul Bass' seminal and most sought-after poster from 1958. In fabulous linen-backed Near Mint/Mint condition. Saul Bass (19...

The Mambo bed features a sinuous shape that elegantly unfolds within a space, inspired by the graceful and lively movements of mambo dance. The generous folds and curves evoke the vi...

Antique French Art Nouveau Green Glass and Wrought Iron Pendant Light, ca. 1920. Add a timeless touch of elegance to your interior with this Antique French Art Nouveau Pendant Light...

Pair of French Louis XV Revival Nightstands/Bedside Tables C1950s Gorgeous pair of French Louis XV style nightstands/bedside tables with a sweetheart motif. A delightfully dainty du...

A pair of walnut and white fabric lounge chairs attributed to Paolo Buffa, Italy, 1940s. Overall Dimensions (inches): 28.875"H x 26.375"W x 31.375"D Seat Height (inches): 16.25" A...

A pair of bronze table lamps designed and produced in France, c. 1940s. Dimensions of Lamp (inches): 5.3"H x 3.75"W x 3.75"D Dimensions of Lamp with Shade (inches): 8.9” H x 6.5” D...

Elevate your decor with the exceptional beauty of this vintage blown glass vase from the early 20th century. Created by an unknown Spanish manufacturer circa 1940, this vase remains ...

Pair of Hans-Agne Jakobsson wall lamps in opaline glass and brass, made by Hans-Agne Jakobsson AB in Sweden in the 1950s. The brass has a dark patina, polished upon request. Opaline...

ELO 5 Mirror Signed by Pani Jurek Dimensions: H. 120 x 60 x 4 cm Hand glazed ceramic Color shown on main image: Green _________________________________ Pani Jurek is a Polish desi...

This is a very characterful 18th century Spanish table. It is made from walnut throughout and the top is a stunning single plank that has a wonderful patina and tactile feel that can...

1940s Swedish Modern Chandelier with a decorative Leaf Cage between three curved lamp arms. Painted metal in gold with pleated fabric covered shades. Produced by Chr Bergh & Co, Swed...

Guido Faleschini for Mariani, ‘Pace Collection’ set of queen bed, two nightstands and two stools, leather, chrome-plated brass, enameled steel, Italy, circa 1975 This eccentric set...

Ubald Klug for De Sede, set of four DS-1025 'Terrazza' landscape sofa elements, patinated brown leather, Switzerland, 1970s. Waterfall shaped sofas in a heavily patinated leather b...

Ubald Klug for De Sede, DS-1025 'Terrazza' landscape sofa elements, patinated olive green leather, Switzerland, 1970s. Waterfall shaped sofas in olive green leather by the Swiss ma...

Very large Murano glass Mid-Century Modern chandelier, attributed to Venini, Italy 1980s. The hand blown Murano glass chandelier is made in an olive green color with gold plated moun...

Art Deco Period, sterling silver table box, Poole Silver Co., Taunton, Mass., Ca. 1930's. Wood-lined. Measures 6 inches wide x 3 inches deep x 1 3/4 inches high. Underside is covered...

Sergio Rodrigues ‘Kilin' Lounge Chair in Wood and Leather, Brazil, 1970's This lounge chair, designed by Sergio Rodrigues, shows his distinctive approach to form and structure. Craf...

Nice set of 5 modern Knoll Saarinen armchairs please feel free to reach out with any questions

The Uhura II pendant is designed by Andrew in the Mid-Century modern style and made exclusively for Andrew Kornat Designs by an historic Spanish Lighting manufacturer with over 100 y...

This vibrantly contrasting specimen showcases moderate to large sized emerald-green Dioptase crystals crowning a matrix of glassily crystallized and beautifully Calcite, dotted with ...

Brass construction, fitted with six E14 sockets. The decor of ornament in pressed glass, designed by Kjell Blomberg for Gullaskrufs glasbruk in Sweden in the 1960s. Height the chande...

A rare and early example from Wilhelm Kåge’s iconic Argenta series, produced at the Gustavsberg porcelain factory in 1938. Crafted in stoneware with an unusual mottled brown glaze — ...

Rare Danish mid century wooden daybed in stained oak with a canvas upholstery, a dark brown leather cushion and white sheepskin designed and produced by Tage Poulsen in Denmark, 1950...

Pair of “Lady” Armchairs, Marco Zanuso for Arflex, 1950s This Italian pair of armchairs was designed by Marco Zanuso in the 1950s and manufactured by Arflex. They are still covered i...

Flush mount ceiling fixtured composed of Murano glass disks in multiple colors.

Paul Evans for Paul Evans Studio, ‘Loop’ wall-mounted cabinet, welded copper with applied verdigris patina, steel, brass, painted wood, United States, circa 1968 Made around 1968, t...

Wall unit or wardrobe, walnut, Italy, 1970s This striking wall unit from the 1970s reflects a bold modernist approach with an architectural appearance. Crafted from rich walnut, the...

Beautiful Mid-Century Modern 3 seat long low sofa with flat bar chrome metal base designed by Milo Baughman for Thayer Coggin. Beautiful shape with herringbone cream white upholstery...

Beautiful Tree trunk side table , walnut and teak ,Three legs . 1950s

English Regency Ebonized Faux Bamboo High Sided Arm Window Bench With Upholstered Seat c1810. The rectangular bow fronted upholstered seat is raised on the faux bamboo frame with 6 t...

This stunning vase, in steel and Murano glass, was designed by Carlo Nason for Mazzega in 1969. This rare piece has a significant sculptural flair. A masterpiece that blends the mast...

This exquisite pair of Mid-Century Modernist lounge chairs by Billy Haines, crafted in America circa 1950, embodies sophistication and clean modernist design. Built from rich walnut,...

Stunning "T’ang Boucher" coffee table in patinated and engraved bronze and pewter with hand-painted enamels in green, blue, and pink and gold and copper-leaf by Philip & Kelvin LaVer...

Beautiful large mid-century modern floor lamp made of bamboo and fabric. Design by Louis Sognot. Made in France. The lamp is made of bamboo canes and still has the original lampshade...

A collection of beautiful and stylish glass pendant lights made in Germany and Italy around the 1960's. The Doria light is made of yellow clear glass in a bubble shape. The Kaiser li...

Italian Neoclassical Painted Gold Decorated Sattee Bench Loveseat Finials MINT

Vase “Oleron” made in frosted glass with blue patina by René Lalique created in 1927. Engraved signature on bottom. Perfect condition. Great patina. height: 9 cm Félix Marcilhac, ...

Martellato is a sculptural vase defined by its refined craftsmanship and striking texture. Entirely handmade, each piece bears subtle variations that highlight the uniqueness of arti...

1 of the 2 beautiful bubble glass light fixtures designed by Helena Tynell for Glashütte Limburg. Design Classics, the hand blown glass gives a wonderful warm glow. Illuminates beaut...

Vintage butterfly poker card game set box, screen print on wood, with two decks of playing cards, eight dices and chips / Designed by PIero Fornasetti, made in Milan Italy by Fornase...

Set of 6 Henning Kjærnulf dining chairs in oak and with newly upholstered cushions in honey colored lambskin. High back. The chairs are originally from the 1960s with decorative ba...

Designed by Ferdinando Meccani in 1988, this cherry wood ‘Madia’ sideboard reflects the careful thought and geometric rigor that define his work. Made for the Salone del Mobile in Mi...

The name Aquarama is derived from the iconic speedboat design by Riva in 1962, first test-driven by Gianni Agnelli. The boat features lacquered timber with contrasting cream detailin...

Introducing a cedar wood medicine chest (kusuri-dansu) made in Japan from the Meiji period to the early Showa period. These chests were originally used by pharmacies and Chinese med...

Set of 6 Antique 18 C Gustavian Dining Chairs W Carolina Irving Andaluz Linen Fabric

1 of the 2 pendant lamps by Carlo Nason for Mazzega. Four crystal clear and purple leaves compose this beautiful handmade piece of thick Murano glass. Please notice the price is for...

1 of the 3 ceramic table lamps, from Bernard Rooke, UK, 1970s. This set brings a rich visual appeal to any interior. With its beautiful shapes, it offers a unique presence. The bas...

Light blue Mid Century Modern Murano glass chandelier, Barovier and Toso style, Italy 1980s. The handmade Murano glass chandelier is made of a light blue - aqua blue color, with ambe...

'Peachy II' is a unique ceramic sculptural vessel by the British artist, Jo Taylor. Taylor’s inspiration comes from highly decorative architectural features such as ornate plaster c...

Stunning, large and highly decorative round flush mount / ceiling light from the 1960s. The pleated shade is made of sturdy plastic material (which makes it easy to clean) and the t...

LC6 table designed by Le Corbusier, Pierre Jeanneret and Charlotte Perriand. Marked, signed and numbered on the frame, this table has the most desirable crystal textured top. The tab...

This antique chest of drawers was crafted in the Meiji Era (1868–1912). Made of Japanese cedar and finished with urushi (Japanese lacquer), it has developed a beautifully weathered ...

This solid and reassuring stool designed by Matteo Ragni features an embracing backrest with two sharp cuts inspired by star points. The backrest has a wood rear panel that enhances ...

Carl Hansen now produces the FH419 Heritage Chair by Frits Henningsen. This chair is a new production and was a display model. Oak legs and green wool upholstery. The chair is cha...

A beautiful and well preserved Colonnato table in Persian red travertine marble, design by Mario Bellini, produced by Cassina, 1977. In this table, the noble Persian red travertine ...

Add a touch of refined Italian design to your interior with this exquisite pendant lamp from Leucos. The handblown shade is crafted from authentic Murano glass in a stunning transpa...

De Sede DS1-19, Pagoda, De Sede Switserland, 1970s Rare De Sede Pagoda four-seater sofa in newly upholstered black leather. The design is characterized by pointy edges that are noti...

"Perf" is a credenza, designed by Diesel Creative Team and manufactured by Moroso, in varnished steel black mat, with doors in varnished steel available in these colors: copper, blac...

Toscana US Queen Size Bed, Modern Collection, Handcrafted in Portugal - Europe by GF Modern. This listing is for a US Queen Size Bed, optional sizes available. The Toscana modern b...

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...

Pair of ribbed glass table lamps with brass hardware in the manner of Toni Zuccheri for VeArt.

Crafted in solid mahogany with a light Fruitwood finish, the piece features four framed glass-panel doors that reveal spacious interior storage while keeping the overall silhouette v...

Vase "Guirlandes de Roses" made in clear glass with blue patina by René Lalique in 1914. Early engraved signature on bottom. Perfect condition. height: 14.5 cm Félix Marcilhac, R...

18th Century Country French Louis XVI Whitewashed Commode is a late period piece, resplendent with the hand-crafted excellence that defines furnishings from this country during the e...

A fabulous ashtray dating back to around the 70s but also a stunning decorative element for your home today I imagine it as a paperweight on a desk or on a coffee table in smoked gre...

Extra-thin metal rods intricately intersecting in a willowy golden base lend this side table its distinctive lightness. The circular erable top boasts luminous brass inlays for a con...

Johannes Andersen Style Mid Century Teak Hidden Leaf Dining Table This table measures: 59 wide x 39.25 deep x 29 inches high, with a chair clearance of 27.25 inches, each hidden lea...

Very beautiful gilt bronze box or mirrorless compact. This object has two sides with different motifs representing the Armenian alphabet. Patina re-gilded with fine gold. Design: Li...

The Babà Soft 875 Lounge Chair by Emilio Nanni features a generous, full volume seating with gently curved lines that evoke elegant simplicity. Its distinctive tobacco-tinted ash woo...