Building and Garden Elements

FOOSBALL TABLE RS2 DESIGNED BY RAFAEL RODRÍGUEZ for RS Barcelona RS2 is a design football table, a spectacular reinterpretation of one of the all time classics of Spanish game cultu...

A substantial vintage Japanese owl candle lantern made of blackened iron. Lantern holds a tapper candle within its base area. Owl's body is beautifully desig...

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

Beautiful pair of ‘Rope and Tassel’ sconces from Maison Bagues, France circa 1970. Stylish, French wall lights in chrome and satin-finished opaline glass. Twisted and coiled rope-lik...

A very large and highly detailed antique stained glass window circa 1900 of French or Italian origin depicting a neoclassical scene. This is one of four similar windows we are sellin...

Measures: Height: 26.3'' / Weight: 60 kg Heroes in Mythology were men and women of special features and charachteristics. These feet are anonymous but they looks like Heracles.. Is...

A large and well crafted solid cast stone Garden Urn Finial on an Octagonal platform. The Urn with decorative swags and nicely textured and weathered finish. Dimensions: 27” high b...

A rare Bar Harbor style one drawer wicker server In natural finish. It is beautifully and elaborately woven in a three over three reed design on all surfacesmwith an unbelievably bea...

Once used on a provincial Chinese farm to hold water or animal feed, this early 19th-century stone trough is celebrated today for its organic form and rustic authenticity. The petite...

A very fine and charming pair of French 19th century Louis XV style figural gilt and patinated bronze chenets, each surmounted with a seated patinated bronze putto holding on to a br...

Modernist wrought iron rocker, Designed by John Salterini. From the Peacock line. Stunning design, lesser seen rocker. Hand delivery avail to New ...

Functional and beautiful early 19th century French Neoclassical Period roasting jack made of cast iron, wrought iron and brass. It is used for cooking in a kitchen fireplace. It is i...

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...

Le prix est pour le lot de 15m² Octogone à cabochons en terre cuite pour un sol classique et élégant. Parfaits pour ajouter une touche de charme rustique à tout espace.

Tolix Set of (4) French made steel stacking armchairs with unusual slatted seats that have been clear powder-coated. Please not the brown treading that is visible under the powder-co...

This is a heavy door from Seville Spain with its original iron intact. It’s terrific for a wine cellar.

An antique lancet-arched stained glass window of five biblical figures by Hardman & Co, Birmingham. Competently painted, this dramatic stained glass window dates to 1889, once a par...

A handsome English standing or statant lion on raised graduated square plinth of weathered composition stone - with great detail to head and mane. Perfect for a garden room or conse...

Norman Louis XIII Style Walnut and Gilt Library Paneling Origin: France Period: Late 19th – Early 20th Century Style: Louis XIII Materials: Solid walnut with gilt details De...

French pedestal wine press screw, 19th century. Brutalist style with octogonal base and top. Dimension of the base : 13.39 in. x 13.39 in. (34 x 34 cm) Dimension of the top : 11.81 i...

Contemporary coffee table with four-legs base in lacquered metal. Ceramic top and metal frame are stain, scratch, and heat resistant. The table suitable for outdoor and indoor use. ...

Stunning ornate wrought iron dining table b y Lee Woodard. The table features rounded corners, each having two legs, with elaborate scrollwork throughout the entire table frame. Char...

Antique Cast Iron Branch Form Garden Bench. Circa 19th Century 1840-1849 Period. Aesthetic Movement. Featuring rope tied oak branches with leaves motif. This bench has seen many chan...

A Palatial Pair of French 19th Century Louis XV Style Wrought Iron Driveway Entrance Gates. The tall and heavy iron gates centered with an with an ornate circular and scrolled design...

This fine, exceptional original antique fireplace surround from paris is in pure White Statuary Marble. The condition as well as the carving is exceptional. It is from the grand Gold...

This Museum quality original antique fireplace mantle in Rouge Griotte marble was installed in Grand interior in Paris. It is a Regency Rococo style from the 19th century. The front ...

A pair of handcrafted wrought iron armchairs designed by Cleo Baldon and produced at her studio/work shop Terra in the 1960s. The chairs and their cushions are in excellent conditio...

A pair of "Shell Urns" designed by Olof Hult and produced by Näfveqvarns Bruk, Circa 1920th. Cast iron. Signed OF. Shown at the Paris Exhibition 1925. Featured in Christian Björk...

Rare set of eight large patio and garden dining armchairs from the Havana Collection by Brown Jordan. The set features sturdy aluminum frames wrapped with woven resin wicker in styli...

19th Century tiled cast iron fireplace insert. With adjustable canopy hood, removable front bars, bottom grate & ash pan including a very unique set of original hand painted victor...

Maurizio Tempestino for Salterini Pair Clamshell Lounge Chairs, ca 1950s Overall dimensions are 22-1/2” wide, 25” deep, approximately 26”high. Seat varies from 11" high back to 15-1...

19th Century French Louis XIV Wrought Iron Bombe Balcony Railing is a stunning work of the metal sculptor's art! Hand-forged during the heyday of the Napoleon III Period, it feature...

This outdoor collection, entirely crafted in Italy, features a dining table and stools made from cedar wood, all designed for outdoor use. Table with structure in cedar wood ,with smooth, rounded sides. Its top and legs have a slender appearance due to the beveled and rounded edges, giving it a graceful, flowing design. Stools made of a single block of scented cedar that features two semicircles positioned one on top of the other to form an hourglass. Stool Dimensions: 15.5" Ø x 18" H Quantity 8 stools...

A very large pair of painted cast stone lion sculptures, inspired by the original marble creations of Antonio Canova (1757-1822) for Pope Clement XIII's tomb in St. Peter's Basilica....

1 of the 30 handmade antique tiles in rich brown and green glazed colors. Manufactured around 1920 by Gilliot Hemiksem, Belgium. One tile is divided in four squares, two brown and tw...

Fantastic looking petrified wood sink in absolute top quality. This impressive oraganic modern sink comes with a unique shape and an amazing natural coloration in beige, brown, grey ...

Add a touch of mid-century elegance to your space with this vintage circular pedestal table by Intrex Furniture, a celebrated New York brand. Designed by renowned Spanish architect P...

A very rare and fine 19th Century brass fire screen, of exceptional quality, fully restored and of grand proportions. The protective wire mesh of shaped, rectangular form is set with...

18th Century French Gothic Period andirons made of wrought iron. The andirons have a natural brown patina. The condition is good.

A vintage three piece Lane Venture patio set in black lacquered bamboo and rattan, sporting handsome, tall backs and openwork lattices. Accompanied by cream and beige-brown buffalo p...

This great green lounge by Surfline is stylish and comfortable. Light, and easy to move, it is perfect for patio or poolside. 34"h X 21.5"w X 31"d Also available is a matching set ...

SUPERB Antique LARGE French Fireplace Mantel Surround with Mirror ~~Renaissance Revival~~HIGHLY CARVED WALNUT~~c. 1870s This HANDSOME statement piece will add charm and character to...

A late 19th century Napoleon III Brass Marquetry Boulle Inlay and Ebonized Wood Planter Table. Exceptional craftsmanship. Beautifully decorated. Measures 25" in width, 15" in depth a...

A limestone bolection fireplace of large-scale, the frame measuring 12" (300 mm) wide. This simple and timeless style of fireplace was used by architect Sir Christopher Wren...

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...

This tall pair of Italian 19th century Louis XVI style hand carved walnut architectural columns with Corinthian capitals and stone base boasts a fluted and slender body crowned with a Corinthian capital deeply sculpted on the round, decorated with carvings of acanthus leaves, rosettes and scrolls elegantly finished at the base with a beaded border. These monumental architectural wooden elements rest on a round shaped sandstone pedestal ending with a square base socle. Over two centuries in age and hailing from Italy, this dramatic pair of highly decorative antique building elements are made out of solid wood carved in the round, handcrafted as pure representations the original ancient Greek models with faithful and accurate fluted columns and scrolled capitals decorated with volutes. The stone block plinths below provide the ideal elevation, complete with fine moldings and raw surface. This large pair of antique Greco-Roman style boasting great and undisputed antiquarian value and high end Italian craftsmanship quality will anchor any interior design. Suitable for historic houses entrances or portal, important offices or adaptable to the most imaginative and high-level ideas: to flank a bookcase or customized shelving...

An Italian surround or formal fireplace mantel from an antique villa near Verona. The flanking superbly carved wooden Ionic columns have been finished with a Venetian marble paint. T...

Pair of Woodard glass top tables with wrought iron and mesh steel base. Recently powder coated in matte black finish. New glides added to feet. There is also a matching glider settee...

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

Early 20th Century Neoclassical Empire style Mahogany Pedestal Plant Stand. Measures 15" in diameter at the base, 12" in diameter at the top and stands 55.75" tall.

Italian garden statue of a maiden, stone, early 20th C. having outstanding patina.

This marble antique fireplace surround is from the early 20th century, the Art Deco period in Belgium. This kind of marble was used also in different USA historical landmarks : For e...

To transform concrete in a soft and comfortable material, so comfortable as to become a couch. From Auguste Perret’s pioneering approach, moving through Le Corbusier’s Copernican rev...

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...

This is a pair of antique decorative fireside tool rests. An English, brass andiron or fire dog, dating to the early Victorian period, circa 1840. Elegant decorative appeal and of...

Bronze garden stool with stump like base and holes in top and open on bottom. Can be used as a side table but there is a very slight concave to the top or possible umbrella stand. Fr...

This impressive, Art Deco fireplace mantel is executed in wrought iron pattern of mesmerizing zigzagging lines and is topped with a lush piece of Burgundy marble. The central portion...

A fabulous heavy pair of 19th Century beautifully patinated and finely cast iron garden urns of exceptional quality and large proportions. The urns of circular form with gorgeous eg...