Architectural Elements
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Architectural Elements For Sale
Japanese Important Giant Blue Bronze Bell 1949- for World Peace
Located in South Burlington, VT
Massive Japanese Bronze Bell Inscribed and dedicated to humanity and world peace.
History:
Many large Japanese bronze temple bells were requisiti...
Category
Mid-20th Century Japanese Architectural Elements
Materials
Bronze
Japanese Antique 18th Century Stone Four Step Stupa Pagoda
Located in South Burlington, VT
An early four step stone pagoda "stupa" from an old Japanese garden
Japan, a fine and amazing surviving pagoda stupa sculpted in two pieces in a convenient portable size from a gr...
Category
18th Century Japanese Edo Antique Architectural Elements
Materials
Limestone
Large Cast Iron Royal Coat of Arms of the United Kingdom
By Walter MacFarlane & Co
Located in London, GB
Large cast iron Royal coat of arms of the United Kingdom
British, Late 19th Century
Height 121cm, width 184cm, depth 22cm
This exceptionally well-crafted cast-iron sign is shap...
Category
Late 19th Century Scottish Late Victorian Antique Architectural Elements
Materials
Iron
Alvar Aalto Sculptural Door Handles, 1950s, Chrome Plated Brass
Located in Turku, FI
Sculptural Door Handles designed by Alvar Aalto in 1950s. Made in Finland.
Materials: Chrome-plated Brass.
Includes two handles and spacer. No screws.
Rarely for sale. (Most...
Category
Mid-20th Century Mid-Century Modern Architectural Elements
Materials
Brass, Chrome
Antique Italian Grand Tour Lion and Chain Cast Bronze Door Knocker
Located in Elkhart, IN
A gorgeous cast bronze Grand Tour triple lion head and chain door knocker
Italy, Late-19th Century
Measures: 10.25"W x 2.25 "D x 9"H.
Very good original vintage condition.
Category
Late 19th Century Italian Grand Tour Antique Architectural Elements
Materials
Bronze
Vintage Out-Of-The-Box Lucite Robe Hook
Located in New York, NY
This vintage lucite robe hook features a semi-opaque finish resembling frosted glass and a simple muscular form is also incredibly dynamic with its wavelike ...
Category
1970s American Mid-Century Modern Vintage Architectural Elements
Materials
Lucite
Fireback Depicting a Vase with Fire Framed by Two Chimeras, 19th Century
Located in SAINT-OUEN-SUR-SEINE, FR
Fireback of the 19th century depicting a vase on a tripod with fire framed by two chimeras supporting baskets of fruit.
Category
1760s French Louis XVI Antique Architectural Elements
Materials
Iron
Wood Paneled Room with Trompe L'oeil Library Decoration, Late 20th Century
Located in SAINT-OUEN-SUR-SEINE, FR
This piece of woodwork was made at the extreme end of the 20th century, around 1985 and comes from a Parisian mansion.
It presents a grey paneled decoration enhanced with gold, comp...
Category
20th Century French Louis XVI Architectural Elements
Materials
Wood
Mid Century Bronze Door Knocker "Peace to All Who Enter Here", 1969
Located in Bedford Hills, NY
Very cool bronze door knocker "peace to all who enter here" manufactured by Terra Sancta Guild, 1969, Israel. New old stock with original box. Two brass w...
Category
1960s Israeli Mid-Century Modern Vintage Architectural Elements
Materials
Bronze
Antique Reclaimed Rectangular Leaded Glass Transom Window Insert Palladium
Located in Dayton, OH
Antique reclaimed leaded and beveled glass arched transom window. Set in a rustic frame. Measure: 26".
Category
Early 20th Century Victorian Architectural Elements
Materials
Lead
Pair of Double Cloister Capitals on Two Columns, Toulouse, 14th Century
Located in Bruxelles, BE
Pair of double cloister capitals on two columns.
Toulouse, Saint Augustin cloister ? , 14th century.
Saint Béat marble
Measures: 195 x 53 x 32 cm
Double marble Saint...
Category
15th Century and Earlier French Medieval Antique Architectural Elements
Materials
Marble
Vintage Fireplace Mantle in Verde Alpi Marble Carved, 20th Century Italy
Located in Cuneo, Italy (CN)
Vintage fireplace in Verde Alpi marble, carved fireplace mantle with central shell, built in the second half of the 20th century, in Italy.
Complete with original base, measures w 1...
Category
20th Century Italian Architectural Elements
Materials
Marble
Selection of eight restored 19th C Neo-Gothic Stained-Glass Windows
Located in Leuven , BE
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...
Category
19th Century Belgian Gothic Revival Antique Architectural Elements
Materials
Art Glass, Stained Glass
19th Century of Blue Turquin Marble in the Style of Louis XVI
Located in Made, NL
Beautiful antique fireplace of Blue Turquin marble from the 19th century! This fireplace is in the style of Louis XVI, has straight shapes and also elegant ornaments in the front par...
Category
19th Century French Louis XVI Antique Architectural Elements
Materials
Marble
1930s English Equestrian Brass Horse Door Knocker
Located in Pearland, TX
A superb vintage English Equestrian brass door knocker depicting a horse in bridle, circa 1930. This fine quality horse shoe shaped door knocker is ...
Category
1930s English Vintage Architectural Elements
Materials
Brass
18th Spanish Carved, Gold and Polychrome Wood Baroque Solomonic Column
Located in Valladolid, ES
One of a kind Spanish Baroque Salomonic gold, polychrome and carved wood.
It’s a stunning piece for a art collector o gorgeous interiors, it is suitable to give a touch with charact...
Category
Late 18th Century Spanish Baroque Antique Architectural Elements
Materials
Gold Leaf
18th Century Wooden Granary Doors From Naga
Located in Chicago, IL
18th century Naga Granary Doors. These handsome and hefty granary doors were found in Nagaland. They were originally situated at the entrance to a granary...
Category
18th Century Indian Antique Architectural Elements
Materials
Wood
17th Century Italian Hand Carved Stone Architectural Mythical Creature Ornament
Located in Buisson, FR
Wonderful hand carved stone mythical creature with traces of original color.
This beautiful ornament once adorned an Italian facade.
Italy circa 1650. Weathered.
Measurements incl...
Category
17th Century Italian Baroque Antique Architectural Elements
Materials
Stone
French Late 18th/ Early 19th Century Carved Stone Winged Angel Head
Located in Buisson, FR
Beautiful weathered carved stone angel head.
France, circa 1780-1840. Good but weathered condition
Measurement here below includes the wooden pedestal.
Category
18th Century French Neoclassical Antique Architectural Elements
Materials
Stone
Handmade Zelige Tile in Terracota Colour
Located in Marbella, ES
Handmade glazed zelige tile in terracota colour in size 10x10 cm.
Price per M2 of 165 Euro, which corresponds to 100 tiles of 10x10 cm.
Category
2010s African Architectural Elements
Materials
Terracotta
Early 20th Century Men's Leather Riding Boots with Stretchers
Located in Port Jervis, NY
Beautiful pair of men's leather riding boots with stretcher inserts created from maple. Boot is 11.5 x 4 x 18 H. Great for display. Leather is still soft. Soles were well worn.
Category
Early 1900s American Charles II Antique Architectural Elements
Materials
Maple, Leather
Enormous Decorative Architectural Finial
Located in Houston, TX
Enormous decorative architectural finial in early white paint, circa 1840-1880 (Look at last picture for idea of scale).
Category
Late 19th Century American Neoclassical Antique Architectural Elements
Materials
Wood, Paint
Four Individual Ceramic Delft Wall Tiles Hand Painted, 19th Century
Located in Lincoln, Lincolnshire
These are four attractive individual Delft ceramic wall tiles, dating to the second half of the 19th century.
All tiles are nominally 5 inches square and 5/16 to 3/8 inches thick....
Category
19th Century Dutch Dutch Colonial Antique Architectural Elements
Materials
Ceramic
18th Century French Cast Iron Fireplace Back or Fireback
Located in Houston, TX
18th century french cast iron fireplace back or fireback.
Handsome rare themed 18th century French cast iron fireback or fireplace back or fireplace screen with Etruscan theme.
Can be used in a fireplace, in a kitchen as a backsplash, mounted behind a stove or outdoors in a summer kitchen...
Category
18th Century French Louis XVI Antique Architectural Elements
Materials
Iron
Wonderful Rare Large Bronze Crystal Panel Banister Newel Post Finial
Located in Roslyn, NY
A wonderful rare large bronze and crystal panel banister newel post finial
minor wear due to age and use.
Category
20th Century Belle Époque Architectural Elements
Materials
Crystal, Bronze
English Arts and Crafts Transferware Pottery Tile
Located in New York, NY
English Arts and Crafts transferware pottery tile, late 19th-early 20th century, featuring polychrome Art Nouveau / Aesthetic Movement floral motif, set i...
Category
Late 19th Century English Arts and Crafts Antique Architectural Elements
Materials
Pottery
Carved Stone Water Filter
Located in Chicago, IL
Carved stone water filter from the frontier region of Argentina.
Category
1850s Argentine Antique Architectural Elements
Materials
Stone
Small 18th Century Italian Baroque Marble Holy Water Font or Stoup
Located in Buisson, FR
Unique and small baroque marble holy water font or stoup,
Italy, circa 1750. Weathered condition.
Measures: H:5,5cm W:16cm D:13-19cm.
Category
18th Century Italian Baroque Antique Architectural Elements
Materials
Marble
Two Pairs of Large Antique Louis XVI Style Bronze Door Handles, circa 1890
Located in Barntrup, DE
Double pair of large antique Louis XVI-style bronze door handles, from the late 19th Century.
These impressive and large French Louis XVI-style bronze push-and-pull door handles are...
Category
Late 19th Century French Louis XVI Antique Architectural Elements
Materials
Bronze
Bronze Push or Pull Door Handle with Aged Patina
Located in London, GB
A large bronze door handle - push or pull design - with raised abstract pattern. Mid-to-late 20th century, European.
This is a heavy piece,...
Category
Mid-20th Century European Mid-Century Modern Architectural Elements
Materials
Bronze
Green Marble Louis XV Fireplace
Located in Haarlem, Noord-Holland
Antique French fireplace amazing green Vert d'Estour also known as Payolle.
Lovely petite Louis XV style fireplace great warm coloring and friendly decorations.
Nice sculpted shelf...
Category
19th Century French Louis XV Antique Architectural Elements
Materials
Marble
French 18th Century Wooden Wine Press
Located in Baton Rouge, LA
This wonderfully aged 18th-century grape press screw fragment. The shaft would have driven a large stone wheel downward, crushing and squeezing grapes, for...
Category
18th Century French Other Antique Architectural Elements
Materials
Wood
Four Georgian Wrought Iron Railing Lengths with Hand-Formed Circular End Finials
Located in London, GB
A set of four lengths of Georgian hand wrought iron railings with hoop style tops and circular hand formed end finials to each section.
They are made from wrought iron so they are ex...
Category
Early 19th Century English Georgian Antique Architectural Elements
Materials
Wrought Iron
Impressive Set of Carved Indian Doors with Thick Surround
Located in Chicago, IL
This monumental carved Indian entrance door is made from Chechum wood and features an impressive and intricate door frame. The frame members immediately adjacent to the doors are eac...
Category
20th Century Indian Architectural Elements
Materials
Metal
19th Century Architectural Ionic Columns
Located in Rochester, NY
A good pair of 19th century American architectural fluted wood columns w/ carved wood Ionic capitals. Overall nicely aged original antique condit...
Category
Late 19th Century American Classical Greek Antique Architectural Elements
Materials
Wood
Pair of Antique French Shutter in Old Crumbly Paint From a Chateau in Brittany
Located in Chicago, IL
Antique pair of French shutters in very old paint removed a long time ago from a chateau located in Brittany.
**Width provided is for the wider shutte...
Category
1880s French Country Antique Architectural Elements
Materials
Wood, Paint
French Style Wrought Iron Greenhouse with Door and Windows in Green Color
Located in Marbella, ES
French style wrought iron greenhouse with doors and windows that open outwards in white color. Ready for glass panels to be instal...
Category
2010s French Architectural Elements
Materials
Iron
American Charleston Cast Iron Lyre Boot Scrape, Circa 1820
Located in Charleston, SC
American Charleston cast iron lyre boot scrape resting on a oval scalloped edge base, Early 19th century.
Category
1820s American American Empire Antique Architectural Elements
Materials
Iron
Pair of Shotgun Cabinet Pulls
Located in Chicago, IL
A pair of cast metal drawer or cabinet pulls in the shape of shotguns.
Category
20th Century North American Country Architectural Elements
Materials
Metal
1930s Art Deco Cast Iron Wall Vent Cover
Located in New York, NY
1930s Art Deco cast iron wall vent cover features a center clover pattern with vertical lines on both sides. Painted distressed silver. This can be see...
Category
1930s American Art Deco Vintage Architectural Elements
Materials
Iron
Grueby Faience St George and the Dragon Tile
Located in Riverdale, NY
Grueby Faience St George and the Dragon Tile circa 1905. Vibrantly colored glazed earthenware circa 1905. Lovely period example.
Category
Early 1900s American Arts and Crafts Antique Architectural Elements
Materials
Earthenware
Moroccan Reclaimed Encaustic Cement Tile with Moorish Fez Design
Located in North Hollywood, CA
Moroccan Encaustic Cement Tile with Moorish Fez Design.
Moroccan handcrafted and hand-painted cement tiles with traditional Moorish colors in blue, yellow, red and black on a white ...
Category
Late 20th Century Moroccan Moorish Architectural Elements
Materials
Cement
Moroccan Encaustic Cement Tile with Moorish Blue Design
Located in North Hollywood, CA
Moroccan Encaustic Cement Tile with Moorish Blue Fez Design.
Moroccan handcrafted and hand-painted cement tiles with traditional Moorish designs.
These are authentic Moroccan recla...
Category
Late 20th Century Moroccan Moorish Architectural Elements
Materials
Cement
Burgundian 19th Century Wooden Wine Press Screw
Located in Baton Rouge, LA
This wonderfully aged 19th century grape press screw - from a winery in Burgundy, France - has been converted into a pedestal with an octagonal top and bas...
Category
19th Century French Other Antique Architectural Elements
Materials
Wood
Fireback Dated 1626 Representing a Cruciferous Orb Framed by Two Angels
Located in SAINT-OUEN-SUR-SEINE, FR
Dated 1626 during the reign of the king Louis XIII, this beautiful fireback shows a crossed globe supported by 2angles.
Category
17th Century French Louis XIII Antique Architectural Elements
Materials
Iron
Vintage Speakeasy Door Knocker and Peephole Grill in Two Panels
Located in Los Angeles, CA
A two panel speakeasy door knocker and grill with a large inner peephole of rectangular shape that opens on side hinges and fastens closed. The ornate d...
Category
Early 20th Century Unknown Victorian Architectural Elements
Materials
Metal
17th/ 18th Century Italian Baroque Marble Holy Water Font or Stoup
Located in Buisson, FR
Beautiful Baroque marble holy water font or stoup,
Unique and original period piece. Italy, circa 1650-1750. Weathered condition.
Measures: H:10,5cm W:21,5cm D:19-26cm.
Category
17th Century Italian Baroque Antique Architectural Elements
Materials
Marble
French 19th Century Zinc Roof Finial with a Dove
Located in Buisson, FR
Beautiful and very rare zinc roof ornament with a dove, Dove could turn around due to the wind.
France, circa 1850-1900. Weathered, minor losses and small old repair.
Category
19th Century French Belle Époque Antique Architectural Elements
Materials
Zinc
Leather Handle And Burnished Brass Cabinet Door Pulls
By Brett Paulin
Located in Toronto, Ontario
Our leather and brass cabinet door pulls are entirely crafted by hand. Measuring four inches by three inches, the twenty gauge brass plate is ...
Category
2010s Canadian Modern Architectural Elements
Materials
Brass
Antique Wrought Iron French Andirons
Located in Haarlem, Noord-Holland
Very nice and decorative pair of French andirons.
Category
19th Century French Antique Architectural Elements
Materials
Wrought Iron
17th - 18th Century Gold Portuguese Antique Baroque Surround
Located in West Palm Beach, FL
A Portuguese Baroque architectural wall frame with intricate scroll details, original painted patina, in good condition. Wear consistent with age and use. Circa 17th - 18th Century, ...
Category
Late 17th Century Portuguese Baroque Antique Architectural Elements
Materials
Wood
Fireback from the 19th Century with a Shield Decorated with a Sunflower
Located in SAINT-OUEN-SUR-SEINE, FR
Fireback from the 19th century with a shield decorated with a sunflower.
Category
19th Century French Louis XV Antique Architectural Elements
Materials
Iron
Historical Ornament, 18th Century
Located in Greding, DE
Historical ornament made of sandstone from the 18th century.
Category
18th Century Antique Architectural Elements
Materials
Sandstone
Antique Fireplace White Carrara Marble, Carved Acanthus Leaves, '700 France
Located in Cuneo, Italy (CN)
Ancient fireplace mantle in white Carrara marble, richly carved with leaves on the sides and central shell, built in the 18th century for an importan...
Category
18th Century Italian Antique Architectural Elements
Materials
Carrara Marble
1 of the 44 Blue and Yellow Jugendstil Relief Tiles, circa 1920
By OTHR
Located in Rijssen, NL
44 pcs of colorful wall tiles with image in relief. Art Nouveau/Jugendstil manufactured in Belgium, Europe early 20th century. The tiles show an image of a yellow flower on light blu...
Category
Early 20th Century Belgian Jugendstil Architectural Elements
Materials
Ceramic
Antique French Hand Door Knocker
Located in Ross, CA
Classic French cast iron door knocker, in the shape of a ladies hand wearing a ring and a beautiful cuff, holding a ball. The set includes a rustic round antique plate for the knocke...
Category
Late 19th Century French French Provincial Antique Architectural Elements
Materials
Iron
One of the 60 Art Nouveau Tiles, by Gilliot Hemiksem, Belgium, circa 1930s
By Gilliot
Located in Rijssen, NL
1 of the 60 Art Nouveau ceramic tiles by Gilliot Fabrieken Hemiksem, Belgium, circa 1930. Beautiful original antique tiles with a chrysanthemum in relief. The tile shows a soft yello...
Category
Early 20th Century Belgian Art Nouveau Architectural Elements
Materials
Ceramic
1 of 300 Art Nouveau Relief Tiles, Morialmé, circa 1930s
Located in Rijssen, NL
Beautiful Art Nouveau tiles, with an image of a flower in relief. The gorgeous red-brown color is glazed. Manufactured around 1930 by, Societé Morialmé, Belgium.
The dimensions per ...
Category
1930s Belgian Art Nouveau Vintage Architectural Elements
Materials
Ceramic
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