Architectural Elements

Very nice pair of pink marble font from the 19th century Very nice work from the south of France In superb condition and beautiful patina

Unusual 19th century carved stone alms or offertory box. Primitive carved stone head above the coin slot. As expected some minor wear to the edges, the secured metal reverse is most ...

19th century French Provincial style hand carved wood fragment of flowers acanthus leaves & single bird.

A very solid, high quality pair of hardwood 19th Century French shutter doors in original paint. A superb looking pair of doors with original ironmongery, including meshed upper section with iron bars. The doors do not have any glazing so these would have been originally used as shutter type door. Being hardwood, these are suitable for exterior or interior application. Would make a lovely entrance into an ensuite or bathroom or as a decorative feature on a Juliet balcony...

Beautiful old stained glass window from 1890 representing a countryside scene. At its base, a work of glass in the form of a shell reveals a v...

A Victorian brass "Pamona" door Knocker, circa 1900. With mounting bolts to attach to door. Pomona the goddess of fruitful abundance in ancient Roman religion and myth. Pomona ...

An antique Indonesian carved and painted architectural panel from the 19th century, with rinceaux motifs. Crafted in Indonesia during the 19th century, this architectural fragment attracts our attention with its traces of red and gold polychromy, highlighting the scrolling of the carved rinceaux beautifully. Showing a nicely weathered appearance, this antique Indonesian carved panel...

Wall hanging Victorian cast iron royal coat of arms shield plaque This is a charming wall plaque is a heavy piece, it was originally wall hung probab...

Antique French fireplace in deep black Belgian marble Lovely petite Louis XV style fireplace great deep black coloring and friendly decorations. Nice sculpted shelf...

Very chic antique fireplace of Carrara marble with gilded gold. An elegant fireplace with beautiful ornaments and decorations in gilded gold in the front part and continuing on the l...

Wonderful early 19th century Neoclassical hand carved oak vase ornament in a good but weathered condition. France, circa 1800- 1850. Weathered Measurements includes the wooden b...

Antique fireplace in black Portoro marble (La Spezia), sculpted with lion's paw legs, hand-built in the 19th century, for an important Ligurian palace (Italy). Beautiful and of grea...

19th Century Cast Bronze Decorative Masonry Plaque was designed to be inset with a masonry wall, surround or framework to add a timeless decorative touch. Depicting a Greco-Romanesque urn bursting with flowers, it was cast from solid bronze, it is a great choice for a kitchen backsplash...

exceptional mahogany art nouveau shop facade it was created in 1886 for a Spanish pastry shop the glasses are curved and encrusted with art nouveau eleme...

An antique cast iron column pedestal base. Use it to support an outdoor sculpture to make a perfect statement. Pedestal has wonderful aged pa...

A majestic pair of antique architectural salvaged Chinese temple corbels, now mounted as one-of-a-kind wooden sculptures on custom floor standing display pedestal stands. Originally commissioned for an important religious temple in China, the impressive large scale wall bracket corbels were notoriously difficult as they had to serve as both highly decorative temple ornaments and structural building elements used to support the weight of a wall. Hand-crafted in the early 19th century, smilarly styled design, each exceptionally hand carved, sculpted, and painted by highly trained artisans. Profusely carved and decorated, featuring very fine quality high relief work throughout, extensive bas relief, pierced openwork, rich carvings and intricate incised detailing, depicting various Chinese folk religion figures and imagery. Rising on bespoke handmade stands, consistenting of sturdy rectangular shaped thick plank plinth base embellished with foliate carvings, held upright by turned column single support. Rich in culture and history, interesting, unusual, highly decorative, whimsical and artistic, sure to add sophisticated elegance, rustic character, color, space, texture and lots of visual interest. Dimensions, largest (approx): Each: 32.5" H, 19" W, 7.25" D. Please note, the objects were sourced and transported both legally and ethically, retaining partial original red wax export seal to top. Display the three Sanxing, in their iconic representation as three, old, bearded, wise men, which dates back to the Ming dynasty, when the Gods of the three stars were represented in human form for the first time. One panel having two monumental smiling figures with hand painted eyes and tongue, the other fragment depicting four figures, seated and standing, likely Immortals, Gods, Shen deity, and other characters from ancient Chinese mythology and folklore. Both pieces with elaborate lotus and pine tree motif, a powerful symbol of wisdom and longevity. Sanxing figures are an important part of Asian culture. Statues of these three Gods...

Terra cotta facade fragment from Chicago Stock Exchange. Architect Louis Sullivan. On custom mount.  

These are based in the USA where we will ship from Wonderful pair of antique Italian Grand Tour obelisks In black marble with amazing pietra dura Pietra dura is an art that flour...

Once gracing the rooftop of a building in Hungary, this decorative zinc roof finial is now a one-of-a-kind sculptural element to be displayed either inside t...

A Pair of Rare Early English 19th century Patinated Brass Curtain Tie Backs The Tie Backs or Curtain Hooks are very early pieces made in 4” wi...

The reign of Napoleon III, often referred to as “The Second Empire”, featured an amalgamation of styles from previous regimes, ranging from the light and airy Rococo of Louis XV to the more stoic Neoclassical trophies of Louis XVI. Our painted giltwood overdoor from circa 1850 is in the vein of a Regence or Louis XV adaptation of the Napoleon III period. The piece is adorned with flowing motifs inspired by nature, such as the curled leaves, scalloped shell, and deep carvings seen on the overdoor. A main principle of Napoleon III furnishings was to utilize every inch available, as noted by the gadrooned leaf and rinceaux that emanate from behind the center medallion, forming a sprawling border. The medallion features an amazing high relief carving of a floral bouquet surrounded by curled leaves with scrolled tendrils and raised, asymmetrical panels. At the top is a scalloped shell, which is mimicked by a pair of parted leaves set at an angle in each of the upper corners. All of the carvings are presented in giltwood, which pairs nicely with the cream colored background that is enveloped in a quarter round molding (also gilded). The entire grouping is presented as a raised carving, with a thin board behind it that has tas de sable (sandpit) pilasters topped with block finials flanking the overdoor. Unique to most other antique overdoors...

Beautiful old stained glass window from 1890 representing a countryside scene. At its base a work of glass in the form of a shell reveals a va...

Set of 5 glazed earthenware panels in flamboyant colours, for architectural facade decoration, made by the ceramist Emile Müller: large rectangular panels...

A Rare and Monumental Italian Carved Carrara Marble Model of a Cathedral, Rome, 19th century, circa 1840. Possibly a representation of Cathedral of Santa Maria del Fiore in Florence Italy. The Italian Renaissance is renowned for its magnificent works of art and architecture, which are admired to this day for their grandeur and intricate details. Among the most impressive examples of this era are the rare and monumental carved Carrara marble models of cathedrals...

Vintage antique glass door in poplar wood, without glasses and Minimamante to be restored as seen in the photo, built and sculpted in the panels ...

Beautiful colorful antique fireplace of Breche de Saint Maxim marble. This mantle dates from the 19th century and has beautiful hand-cut processing in the front part of the fireplace...

Heavy Bronze Bell, Tower Bell This is a very heavy piece it is on an Oak Yoke with iron fixings including a the bracket which holds the rope For the purpose of the pictures and ...

2 Victorian Curtain Poles with Rings 2 Matching Poles This one is wonderful and a very rare pole it is turned from a single piece of wood the finished length is 140” long The cu...

TALL Antique French Cast Iron Cross Crucifix~~Chapel Church Garden Architectural Yard Cemetery Prayer Room Wall Hanging~~c. 1890s Fab...

This is a beautiful 19th century Tuscan Renaissance fragment. Perfect for placement above your mantle, stove, a bed, or use it to dress up a wall b...

A scarce antique Moorish architectural model thin bronze plaque from the late 19th century. This architectural model features a symmetrical design, the bronze frame having three sections, each panel with large traditional Moorish architecture rounded horseshoe - keyhole arch, flanked by xa pair of smaller pierced arches, finely detailed, decorated in intricate relief work, with light arabesque motif, Islamic calligraphy inscriptions, two large Star of David hexagrams, and notched saw toothed edge ornamentation. Provenance: From the highly curated contents of well regarded professional antique dealers, Ed and Jane Grant, who retired after four decades in the industry. The couple supplied both their Washington metro based antique shop, Grant Antiques, and their very fine quality Connecticut showcase, E.J. Grant Antiques, with domestic and imported pieces. World travelers who especially loved European antiques, sourced their merchandise during their frequent buying trips to Europe and Asia and included purchases originating in France, the British Isles, Italy, Spain, and beyond. "We have never been content with our established route. England is our first and favorite country and furniture. Then we discovered France. Then Holland and Belgium. On to Italy, Spain, then Scandinavia and later China. As always, bits and pieces from the U.S.," explains Jane in her memoirs of their 40 years as antiques dealers. Upon closing their antiques businesses (which were considered prominent sources for quality, diversity, and condition), the contents were carefully moved to a storage facility in Trumbull, CT awaiting the auction. It's always sad to see such a fine couple shut their doors after so many years in the industry, but we were honored to have the opportunity to find some truly beautiful pieces from such a respected and trusted source. Acquisition: Reputable auction house, Blackrock Galleries...

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...

Set of 4 hand colored Antique Engravings of Garden Architecture by Van Laar, circa 1802. Prints are from "Magazijn van Tuinsieraden," Amsterdam, ...

Group of Mid-Century Modern-style Miniature Wooden Furniture, featuring a table and two chairs. This vintage set was created by hand in the ...

Fireback from the 19th century with a shield decorated with a sunflower.

Beautiful old stained glass window from 1890 representing a countryside scene. At its base a work of glass in the form of a shell reveals a va...

A French set of two doors, both singles, from the 19th century. These antique doors from France, though not meant to match up together (as in a pair of French-style doors) but are two near-identical single doors. Each door is comprised of two panels, with top being near-square in shape, over the lower rectangular raised panel. The new custom finish has a soft color palette of gray, blue and green hues. Both sides of the doors are paneled and painted, so these are a great option to place between living spaces. As with all of our doors, we recommend that a professional contractor be used for installation, and that our dimensions are approximate and may vary slightly. This set of 2 single French doors...

Late 19th century, architectural antique carved wood overdoor pediment. Salvaged from a late 19th century Victorian home in New Haven Ct. The pedimen...

This pair of English 19th century barley twist columns are a wonderful architectural antique to add an extra level of authenticity to your interior...

This enchanting pair of antique wooden shutters evokes the romance of a provincial chateau. Made in France in the 1800s, these pieces would have originally served to cover the window...

Pair of old Provençal interior doors, with carved panels painted in blue, one was a panel (the lowest), built in the late 19th century in the south of France. Delicate and elegant c...

19th century Louis XV style fireback depicting the French Queen Marie Leczinska. Three similar firebacks are reproduced in Henri Carpentier's book "Plaques...

Pair of circa 1880 American molded copper architectural building ornaments in the best original verdigris surface. Now wired for hanging. Supper original surface.

A wonderful matching pair of scrollwork bronze window guards featuring birds and flowers, dating to the 19th century, with great verdigris and patina, li...

Wrought iron door knocker. Very nice.

Rustic Antique Swedish Step Ladder is a reminder of a bygone era, long before the days of Home Depot and Ace Hardware! When one lived out in a rural area an...

Antique French Rococo-style bronze decors with roses from the late 19th century, set of two. This beautiful pair of bronze decors feature large acanthus ...

Wood sunburst pediment from a building facade.

Fabulous stained glass windows, 6 available, one posted separately in this listing. Rainbow Studios of Nyack NY did them in the mid sixties for a home in Nyack which overlooked the H...

A pair of Victorian Gothic revival pressed brass letter Racks, 19th c. B. Days Patent, with the Royal Coat of Arms, both in the form of a Gothic mult...

An attractive period English Regency limestone fireplace. The jambs and frieze with Greek key motif, the end blockings with carved lion's masks with moulded shelf above. Early 19th c...

A pair of Qing dynasty (1636–1912) Sancai glazed ceramic figural roof tiles with rich beautifully aged patina! Dating to the 19th century, wonderfully hand-crafted and painted, sculptural form depicting stylized fish, rising on terracotta clay arched imbrex barrel roof tile. Dimensions: (approx) Each; 13" High, 4.5" Wide, 9" Deep; 8.6lbs total Condition: Great original antique condition with heavy patina over the whole. Significant crazing - craquelure throughout that can only be acquired over long periods of time. Wear consistent with age. We have not cleaned them, leaving them as original, and retaining as much antique character as possible. If you would like them cleaned and polished please let us know after ordering them. History: The Fish, ? (yú) figure is believed to be a symbol of good fortune and longevity. The Fish is one of the several natural or mythical creatures such as Foo Dogs - Guardian Lions that adorn roof edges of Chinese religious temples, official buildings and important structures. Brightly hand painted and glazed ceramic roof tiles...

Sometimes referred to as a dormer, this zinc oeil de boeuf window frame is from France, circa 1890. First used during the 17th century, the dormer...

A group of four antique confessionals in Neo-Gothic style, made of oak.

A monumental antique American architectural ceiling fresco art design decorative building element, framed in a later carved giltwood shadowbox style frame. ...

Beautiful antique fireplace from the 19th century in English Regency style! This fireplace has a very chic look and many decorations and ornaments, such as acanthus leaves. An elegan...

Known as bras de lumière (“arm of light”), this pair of French cast iron sconces from the 1800’s features a magnificent rinceau of foliage wit...

An interesting mid 19th century architectural model of a cistern sculpted in limestone, possibly Bath stone, carved into an elongated oval form. Beautifully weathered and of good scale, this carved limestone sculpture...