Glass Architectural Elements

Enormous Mid-Century Modern Brass & Handblown Glass Chandelier, Art Deco Style, 1950s. A breathtaking and rare monumental chandelier from the 1950s, masterfully handcrafted with tim...

Antique Lantern Cloche – C A stunning octagonal lantern cloche, salvaged from France. The cloche creates a miniature greenhouse and provides a beautiful form of protection of plants...

Highly decorative porcelain bathroom set with stunning roses pattern, by one of Europe's finest. Over the years we have sold very few porcelain Limoges pieces and that is simply because these high value items don't find there way to the open market very often. So to have been given the opportunity to purchase a set as complete and remarkable as the one we are offering you here, more than made our day. Also, because we already know that someone will be thrilled to be able to own and use this rare and beautiful set in their (new) home or, for example, in their holiday home. This vintage Limoges set of high quality and detail consists of the following: - A practical size washbasin with gilt bronze mythological dolphin handles. - Large mirror in stylish bronze frame with a mounted (or built-in) 4-light sconce. - A porcelain shelf (for wall mounting) to go under the mirror. - A bronze and porcelain, 4 light pendant light. - A shell design porcelain and bronze soap holder (for wall mounting). - A toilet paper holder with some damage (we therefor listed this set as a five-piece set). The two stunning bronze dolphins used to be the handles with which you could turn on the cold and hot water, but at some point in time the actual water tap...

One of four "Liberty" Italian Stained Glass door- window Panel, Italy 1900 c Measure: Each door/panel measures height cm. 190, width cm. 5...

Mid-Century Modern adaption of stained glass window panels by Rainbow Studios NY. 6 available just one in this listing, see other listings for the entir...

A round polychrome Tiffany-style stained glass window panel, Germany, the 1970s. This beautiful and large round window decor or panel features an abstrac...

Pair of small double door handles in solid glass hand blown Sommerso Murano glass with centre in chocolate brown and outer ring in clear glass fitted to a chrome sleeve attributed to...

These antique Italian tri-color stained glass windows are a beautiful and unique addition to any home or building. The geometric designs and muted colors add a touch of elegance to a...

Beautiful late 19th century antique stained glass window with flowers and jewels. This is a great window with good colors from a private billiards room in Fairfield County Ct. Original salvaged from an estate in northern New Jersey over 40 years ago. It has some small cracks shown in the photos but is very sturdy and in very good condition. The sizes are for the stained glass window in a small wood frame...

Beautiful antique arched top stained glass window with flowers and jewels. This antique stained glass window has been put into a new w...

Bronze gas fixture converted to electricity with three candle lights and three art glass shades.   

Beautiful antique stained glass window with great colors and some small jewels. This window just pops with color and the flower...

This is one of two matching 19th century antique arched top stained glass transom windows in a new wood frame. The other window is also l...

Late 19th century Victorian Stained glass window with a hand painted center panel of a small bird seeing its reflection in a frozen birdbath, the detail is simply amazing. The brilli...

Beautiful 19th century antique stained glass window with an arch top in a new square wood frame. This window is full of color with a turquoise center...

Sculptural pair of American lightning rods dating from the 1870's. They still maintain their original copper skin on its wrought iron twist rod staff wh...

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...

Priced per square foot. Reclaimed from old warehouses and industrial buildings, this corrugated industrial glass was used as exterior awnings or part...

Pairs of round double door 1960's push and pull handles in clear glass with subtile wave relief, cast glass (2cm thick) with aluminum fittings. They are designed for a glass doors bu...

Massive Antique Textured Opaque Glass & Zinc Lantern/Street Lamp Shade USA, circa Earlier 20th Century  This massive antique textured opaque glass and zinc lantern or street lamp sh...

This is a pair of over-sized French doors from the early 20th century. These antique French doors are substantial, standing at a height of more than 10 feet! Each door has 18 glass panels, framed by vertically slatted wood at the upper and lower portions of the door. The doors have old paint and patina, slightly differing in colors on each door. These massive antique French glass panel doors...

Tiffany Studios monumental interior entrance as you can see by the pictures The side lights, how beautiful Tiffany furnace drapery glass with shallow mottel background The archw...

Fabulous set of 4 leaded and stained glass windows. Excellent craftsmanship and design in the framework of these 4 windows. Red cherrie...

A pair of oval double door push and pull handles in clear glass with swirls of old pink and burgundy. They are cast glass (2.2cm thick) with bronze anodized fittings, They are design...

A pair of double door handles, push and pull, square textured clear cast glass with mat antique gold anodised aluminum. They are designed for a glass or wooden doors but suitable for...

Full Length Opaline Glass Bar Sign, Wines Saved During Refurbishment, this very good quality piece is framed in solid Walnut, the sign itself “WINES” is on very attractive Opaline ...

We are obsessed with these glass panels. They were custom made by the artist in 1991 for a chic, modern and high end design perfect residence in Indian Wells, CC. The design of the e...

Very rare and extraordinary skylights, made of 25 engraved glass tile. Subject constellation an Greek Gods. One of a kind, signed by the artist "Roger Broeckaert, Ateliers Broeckaert...

The beautiful design on this wall barometer by Taylor in patinated brass and glass can be hung on the wall or table top.

Artu Fire Pit designed by AK47 Design A chestnut fire pit that combines traditional and updated components, the Artu by AK 47 Design does double duty as an outdoor sculpture and is ideal for open spaces, gardens, parks, terraces, hotel outdoor areas, golf clubs and so on. Though the wood is treated to prevent corrosion, the natural shades offer a rustic and unadorned design. Sturdy and comfortable, the fire pit stays covered for safety when not in use, and won’t overheat. Store logs conveniently underneath the pit. The Artu’ is not only useful as a wood-burning fire pit, but with the addition of a grill kit, it can be used as a barbecue grill...

Large tower clock face and mechanism - probably works (not tested) with roman numeral hours. Lucite backing can be illuminated - made of heavy metal, a GREAT piece.

Special slabs available Two-sided Curved Extra treatments Temper glass Non-slip finishing Special glasses Borosilicate glass Finishings Chrome, Opalescent, Satin Us...

Solid cast bronze and glass relief are in perfect condition. The bronze has a strong patina due to the textured surface and its age. The circle of clear glass has insertions of small pieces of metal. The handle can be applied inside or outside on a single door. It can also be used cupboard...

Two sets of oval double door push and pull handles in clear glass with swirls of old pink and burgundy. They are cast glass (2.2cm thick) with bronze anodized fittings, They are desi...

American hanging Apothecary show globe with a mounted cast iron painted and gilded eagle. Globe was filled with a colorful green or red liquid to...

Art Deco interior door, single door with colored glass and frame with opening sides also in colored glass, built in larch wood, in the early 19...

Extremely rare & elegant Mid-Century Modern pull & push door handle. Designed and manufactured probably in Italy, 1960s. Executed in brown and clear...

Bitta Murano glass door handle by Seguso Vetri d'Arte. Handmade, blown Murano glass in an elegant, modern shape. The round door handle has a g...

Pair of beautiful salvaged windows from a historic Oklahoma City mansion. This mansion was built close to Oklahoma's statehood. Each window has been r...

Spectacular window panels by Rainbow Studios NY. Windows were created for a house in Nyack NY which overlooks the Hudson River. Amazing craftsmanship ...

Massive French wrought iron sconces with frosted flame globes suitable for interior or exterior use from the 1930's. From an important, massive estate in...

New / old stock precision wall barometer in brass by The Nature Company, circa 1990s. The piece is in excellent working condition with original box and measures 4.25"D x 1.75"H. #...

The Saturn Pull features a slender glass pull with a layered Sommerso technique. The pull is appropriate for a wide range of interior applications including cabinets, specialized mi...

Unusual set of three leaded stained glass panels, executed in the modernist style, constructed of colored glass pieces, fused with lead trim, framed with a solid wood border. The t...

George W. Maher Prairie School Stained Glass Arched Hollyhock window pair, 1906 George Washington Mayer Pair of window panels forming a ro...

19th Century wrought iron double front door in Art Nouveau Style. A large double door that belonged to the entrance of a noble house in Barcelona. ...

A pair of double door handles, push and pull, square textured vibrant red cast glass with mat antique bronze anodised aluminium. They are designed for a glass or wooden doors but sui...

An antique architectural fireplace surround offers mirrored upper with shaped scroll form frame over surround having mantel, carved grapes in relief, marsh scenes with birds and flor...

Mural Glass & Marble Mosaic for wall and floor decoration, Jewelry Stones Design The legendary Alexander's Collection, a brand that initially made the name in the Asian markets, is ...

This substantial antique six-sided outdoor pendant light was made between 1900 and 1910, most likely in the United States. The heavy and very ornate frame and mount are cast bronze which has been painted flat black many times over the years, but is visible where the paint has flaked off and on the ceiling cap. The six sides are done in stained glass panels of textured clear glass, with a deep yellow diamond shaped accent running down the center of each panel. The ornate top of the fixture is done with thick and heavy stepped curves with a pineapple styled finial atop each of the six sections. This Edwardian pendant light...

Large pair of leaded glass windows having diamond harlequin panes. Wooden frames show age appropriate signs of wear as shown in photos, especially the painted sides. No broken glass!

Stunning set of stained glass window panels. This listing is for 1 panel. We have 6 available, all in separate listings. Fabulous colors a...

Spectacular set of 6 stained glass window panels by Rainbow Studios NY. This listing is for one panel. All other panels are listed separately. Amazing c...

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 i...

2 Gilt-Bronze & Black Glass Hand Towel Racks With Mounting hardware The large bar, 14” X 3” X 4” Smaller bar, 10.5 X 3” X 4”

An exceptional cast iron fireplace serpentine form mantel and surround, circa 1850-1860, with original inset églomisé glass panels depicting buildings and figures, attached Rococo backsplash, central arched interior opening, and large scrolled surround. The back is embossed “Patent by H. Tucker” Fireplace mantel designer Hiram Tucker patented improvements to the common mantelpiece back in 1850. His invention involved using ornamented...

A good Arts & Crafts oak fire surround with a flaring cornice and three central shaped supports flanked by stylized floral carvings to the tops with a central beveled mirror, curved ...

A wall mirror in the neoclassical design style, circa early-20th century. Mirror appears to have been a part of another piece (old glue on back) and removed. I'm showing mirror (with...

A pair of double door handles, push and pull, square textured clear cast glass with mat gold anodised aluminum. They are designed for a glass or wooden doors but suitable for any kin...

Beautiful antique stained glass arch transom window in a new wood frame. Late 19th century window salvaged from an estate outside Pittsburgh PA. This is a combination window with both stained and beveled glass panels This is one of three stained glass transom windows...