Building and Garden Elements

This ships free in the Continental US! This patio furniture sofa cover is a perfect fit for our Suelo® outdoor sofa. Our furniture is solid wood and needs proper care. Please care f...

A completely original 19th century French polished cast iron fire basket grate in the Rococo style. A shaped high back complete with its original fire stone, with a four bar serpen...

A fine cast iron garden statue of Lady Liberty with great verdigris and patina, with some rust in spots, light soiling, minor paint loss and wear commen...

Italian 19th Century Wrought Iron Plant Stand and Riveted Copper Planter. Copper planter measurements 33 x H 19 cm.

You are viewing a classic pair of stone garden dogs on oblong pedestal stands Great pair to place in the garden either side of a door or entrance Made in the manner of the famous Aus...

This lovely large French early 1900s Art Nouveau period cast metal vase features an overhanging foliate rim above a baluster-form body cast with scrolling cartouches and is applied w...

19th century Napoleon III period fireplace basket - fire basket made of wrought iron and a recently forged steel grate. The total width of the front is 27.8 inch (70.5 cm) The baske...

Pair of mid-19th century Neoclassical footed cast iron planters/garden urns by Val d'Osne Foundry, France By: Val d'Osne Foundry Material: ir...

Pair of grand-scale arched glass paneled double doors. Contains (mostly) original glass plates (one missing, the second broken) Constructed, circa 1910 in...

Charming classical revival cement planters attributed to noted maker Henri Studios. The pair feature cupids executed in raised relief, which circle the outside of the planters. Bot...

Pair of antique wood carved Gothic Revival architectural Columns Anonymous 19th century; Belgium or Netherlands Wood Approximate size: 41.75 (h) x 11.75 (w) x 11.75 (d) in. An exceptional pair of tall and intricate hand carved vintage wooden 19th century church columns...

Roger Tallon. Spiral staircase in polished cast aluminum, mahogany steps. French work realized circa 1970. Dimensions: H 391 x W 84 x D 25 cm The measurements are taken for the t...

This set is comprised of a soap holder, toothbrush holder, tray with raised edges, tissue holder and paper bucket. The onyx quarries of the Carolina vill...

Exceptional iron hoop lounge chair with a canvas seat. Fabulous iron frame with a great design, hairpin legs built into frame. Canvas is new and the ...

An English solid oak timber fireplace mantelpiece carved with Edwardian style carved corbels. Simple classical late Victorian, early Edwardian design.

Incredible three piece sectional sofa, constructed of wrought iron, and repeating metal straps, with original vinyl cushions. The sofa can be configured in multiple configurations, f...

Woodard two piece porch glider . Recently powder coated in matte black finish . New glides added to feet . Wrought iron seat frame with mesh steel ...

A mid-century modern metal slat patio chair. Elevate your outdoor space or patio with this rustic metal springer rocking chair. Created from metal, the chair features vertical slats ...

3-996 Figurative fire back with matching surround.

A remarkable classical 19th century English 'Snake and Dog' cast iron garden bench by famed iron forge, Coalbrookdale Iron Company, with dog head arm finials and sides with swirling ...

Pair of minimalist wrought iron by Jacques Adnet featuring a architectural base topped by an iron ball. Original patina and oxydation. Can be sanded upon request ($250 additional ch...

This antique panelling was reclaimed as a whole room and is comprised of Oak and Elm. There are 7 panels altogether, sizes of each listed below. The panels can be reconfigured/cut t...

Crafted from high-quality resin with the appearance of faux travertine, this striking geometric centerpiece is a modern homage to the formal elegance of classical Greek architecture....

Beautiful French antique hollowed out tree trunk wooden planter from the 19th Century in a primitive and wabi-sabi style. Good condition with some old repairs. Great piece that adds ...

Formal French bicolor hard stone ice container. One in its kind. A great element to create a fountain, flower pot, hand washer or even to be used as wine cooler. A great original ant...

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...

Belgium / 1850 / panel / oak / Neo-Gothic / Antique Highly decorative 19th century Flemish panel with hand carved Neo-Gothic decorations in oak. The panel consist of four rectangle ...

A very fine and exceptionally carved Italian 19th-20th century Baroque Revival style whimsical white Carrara marble wishing wellhead, raised on an octagonal two-step marble base. The intricately carved marble relief circular wellhead depicting carved figures of dancing and cheerful children (Putti) among vines, flowers and fruits, dancing and playing musical instruments with a backdrop of castles, landscapes, forests and wreaths, Florence, circa, 1900. Note: We have part II video of this amazing Wishing Wellhead. Please feel free to request a copy. Literature: A similar wellhead was sold by Jan's & Co. Fine French Antiques, Inc. in 1999, provenance the Atkinson/Kirkeby Estate and it is illustrated in "The Estates of Beverly Hills" by Charles Lockwood and Jeff-Hyland, page 150. Another similar is currently on display at the gardens of "The Elms" mansion a public museum part of the Newport Mansions by The Preservation Society of Newport County in Newport, Rhode Island. Yet another similar wellhead carved with frolicking putti with musical instruments and a dentil molded rim is located at Cranbrook House, Bloomfield Hills, Michigan, and is illustrated in B. Israel, Antique Garden Ornament...

Gorgeous pair of circular radar wrought iron patio chairs designed by Maurizio Tempestini for Salterini. These are the more desirable cantilevered springer chairs...

Pair 19th century Exterior French doors with wrought iron will make the perfect choice to make an entryway unique, or to just hang on the wall as...

*Only one left. Large natural stone garden planter with swag design. Overall great shape with signs of age/patina.

The table is manufactured of continuous and aligned glass fiber-reinforced resin composite, a highly resistant and durable material. Meticulously handmade by skilled artisans one pi...

A pair of angular bronze door handles, each with square mounting plates. First half twentieth century, found in Denmark. The handles are a simple design, made from bronze with a war...

Nero Round Dining Table The Nero Round Dining table features a round shape with a sleek and modern design, making it a versatile addition to any dining set. The table is made from ...

Rose rock crystal handle with nickel decoration. Created by Phoenix Gallery, NYC. Size, and finish upon request.    

A charming pair of nicely weathered and naturally aged recumbent reconstone whippets. Found hidden in a large country garden in Weybridge Surrey, these whippets facing eachother wit...

Brown Jordan Sun Shade. Nice Original Condition. Base and pole have been repainted somewhat recently. Shade material is original as well as t...

A unique botanically inspired decorative sculpture, crafted from iron in the shape of a cluster of mushrooms. Hand-painted in antique white and red, these pieces evoke a vintage, cou...

Pair of large liberty terracotta vases finely decorated with birds and bamboo plants Timeless decoration for your interior or garden.

Rare large cement tulip planters by Willy Guhl. Switzerland, 1960s. With drainage hole.

Set of two large "Diabolo" planters by Swiss designer Willy Guhl produced by Eternit in the 70s. Structure in fiber cement, original grey paint. Very nice patina of time on the whole...

Scroll down and click "view all from Seller" to see more than 400 other unique products. (2.2) Thanks to this technology, it is now possible to fit any outdoor environment with Vene...

A Pair of Burgundy Wall or Window Treatments, Curtains, A stunning set of Scalamandré Window Treatments. This large and impressive set of lined curtains...

Circa 1900-1925 Pair of English Wrought Iron Garden or Driveway Gates. With operable latch & mounts. The light baroque design features multiple S & C scroll motifs. Fine estate condi...

An amazing Varnished Driftwood Root Natural Organic Wood Pedestal, Side End Table, Stand in great vintage condition. Measures 15" in width, 15" in depth and stands 32.5" tall. Detail...

Introducing the Philippe Starck In/Outdoor Round White Tulip Bar Tables "DR.NA" for Driade, a stunning fusion of contemporary design and functional ver...

20th century French fireback with Adam and Eve. The fireback is made of cast iron and has a brown patina. It is in a good condition, without cracks.

Antique Meissen Victorian French Porcelain Flower Pot Cachepot Wine Cooler - a Pair. Circa Early 20th Century. Measurements: 7" H x 8.5" W ...

A large and monumental Italian carved Carrara marble mascaron of Poseidon or Neptune after the late 16th century ‘Fontana del Mascherone’ by Bartolomeo Bassi. At more than 90cm tall ...

This charming vintage Regency-style wrought iron set includes a round table and two matching chairs, all featuring intricate rose garden-inspired designs. The table showcases an orna...

Stunning French iron garden set by Francois Carre, oval table, 4 spring steel arm chairs. Amazing original condition. Has always been used indoors, Han...

An early 20th Southeast Asian hammered and Embossed Brass Jardinière. Artistically embossed with a large variety of scenes. Check out all the pictures. Measures 13" in diameter and s...

Very please to offer this beautiful Arabescato marble floor. This used to be the hallway in a late 19th century hallway in the city center of Ams...

Vintage antique fireplace surround with its original ground plate in a very rich color marble. The style is called Pompadour and is ...

Set of door handles designed for the SAS Royal Hotel in Copenhagen by MAA. Arne Jacobsen in 1958. Made in Denmark, great condition. 20 sets availa...

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...

19th Century French slate table.

A rare and fabulous French Art Deco large bronze signed sculpture of a bunting panther by Andre Vincent Becquerel, French, 1893-1981 This lovely cast, in a warm dark brown patina with green undertones is sculpted with highly stylized anatomical details. The sculpture rests on self base. Becquerel's favorite subject matter was cats. He often captured them in a natural setting, stretching, stalking, clawing at a tree stump or walking in tandem. The model offered here with the panther bunting/rubbing against a stump of a tree is a rare version. This innate feline behavior is seen as a sign of affection, or of a transfer of their scent to claim territory or marking you as a friend. Becquerel was born in northern France. He attended the École des Beaux-arts in Paris and studied in the ateliers of Hector Lemaître and Prosper Lecourtier, the Animalier sculptor. He also worked with Charles Valton, who had studied under both Barye and Fremiet, two other renown animalier sculptors. He began exhibiting at the Salon des Artistes Français in 1914 and continued to do so for the rest of his career. In 1944 Becquerel was awarded a bronze medal by The ‘Artistes Français’ and a gold medal in 1945. In 1952 he won the Prix de l’Yser, which made him hors concours and thus above the future competition process. Cubist, Impressionism, Expressionism, Futurism, Modernism, Realism, Cubism, Piero Palazzolo...

Pair of columns or “somno” from the Empire period in France. These were originally used as nightstands. The period circular pair sit on a larger circular base and are crafted of bent...

A pair of outstanding giraffe sculptures . The item will be well-suited to either an indoor or outdoor setting.