European Architectural Elements

A Superb French Cast iron balcony, Renaissance style, attributed to Val D'Osné foundry cooperative in Paris, with trilage sides, female images, lions and ...

Embark on a journey of vintage charm with this exceptional set of nine tiles, featuring the iconic Michelin Man in a vibrant blue centerpiece, surrounded by original yellow tiles. Cr...

A very stunning 16th century Marble Fragment from the Veneto region of Italy. Beautifully carved with angels or putti and now mounted on its iron...

A beautiful cast iron Louis XV fireback or backsplash from the 18th century. Displaying the spell of Omphale, Queen of Lydia. Hercules is spinning the wool, spindle and distaff in h...

Beautiful antique mantelpiece made of Rouge Royal marble. This warm color scheme creates a lot of atmosphere and appearance! A unique fireplace within our collection from the 19th ce...

Antique French Zinc Milk Bucket, early 20th Century. Hand-crafted bucket with bale and fixed handles. Wonderful aged patina.

Beautiful antique mantelpiece made of Noir de Mazy marble in the style of Louis XVI. A fireplace from the 19th century with a sleek and chic look! The original grilles are still pres...

Decorative metal railing piece with grape motif makes a wonderful wall decoration piece. Can be hung vertical or horizontal.

Beautiful antique fireplace of the rare type of Noir de Mazy marble from the 19th century in the style of Louis XV. This mantel has a scallop in the center of the front section and a...

Embark on a journey of vintage charm with this exceptional set of nine tiles, featuring the iconic Michelin Man in a vibrant blue centerpiece, surrounded by original yellow tiles. Cr...

Embark on a journey of vintage charm with this exceptional set of nine tiles, featuring the iconic Michelin Man in a vibrant blue centerpiece, surrounded by original yellow tiles. Cr...

Antique fireplace mantle, hand-sculpted in precious and solid white Carrara marble, carved with lateral flowers and typical decorations on the sides and pediment, from France from th...

Beautiful compact antique mantelpiece made of Carrara marble from the 19th century! This graceful mantle is in Pompadour style, characterized by the round ornament in the center of t...

Circular with leaf carved design.

Dive into a nostalgic journey with this rare and unique set of 21 Michelin Man tiles, crafted by an unknown manufacturer in Spain circa 1960. The set comprises the complete series of...

A very near pair of marble elements with a well carved restrained design, previously part of larger architectural feature like a grand fireplace. Each section has a good decorative ...

A square push-pull door handle made of cast bronze featuring a raised spiral design. 20th century design, found in Germany. The piece is in good vintage condition with a dark brown ...

A unique patchwork composition panel. The fun and colorful hand painted panel consists of 35 moroccan tiles. All tiles show sketches and drawings of fish in the style of the Berber c...

Originally part of an antique armoire, these oak doors were hand carved in France during the 1600s. The beautiful doors are rectilinear in theme, with ...

Antique huge entrance portal in painted, gilded and richly carved wood with period motifs. Large antique item, important both for its history and size, sold assembled (2 legs + front...

A mid 19th century brass bell shaped door porter. With weight base. Weight: 6.2 lbs.

Antique fireback / backsplash, Carrying Wounded Person. Nice square cast iron antique fireback displaying a man carrying a wounded person away from the village, accompanied by a c...

Very heavy and well-made pair of hinged wrought iron grilles or gates, painted red, with orange colored primer paint visible beneath in small areas...

A complete early 20th century garden dining table and four chairs made from teak taken from reclaimed war ships, attributed to Heals of London. This functional teak garden dining set...

late 19th Early 20th century pair of carved decorative elements, previously part of larger interior architectural feature or fireplace. Decorated with foliage and organic forms The ...

1 of the 80 Art Nouveau ceramic tiles by Gilliot Fabrieken Hemiksem, Belgium, circa 1905. Beautiful original antique tiles with ivy in relief. The tile shows a soft green ivy on a li...

Set of 48 Antique English "Minton Hollins & Co.," Porcelain Tiles, Circa 1870.

This is an amazing set of antique Art Nouveau handmade tiles with an image of a laurel wreath in relief in a soft blue, green and yellow. These tiles would be charming displayed on e...

Set of two rectangular horizontal Brutalist bronze door handles with abstract relief and irregular textures, European 1970's. Their relief with original patina is expressive and will...

A refined and well proportioned mid Georgian style fireplace in white marble. The barrel frieze with panelled centre, and elegant moulded jambs and shelf. A copy of an 18th century d...

The antique French limestone fireplace from the 19th century exudes the rustic charm of the countryside. A fireplace with beautiful lines and rural appearance with a very accessible ...

A trio of marble elements with extremely well cast bronze appliqués with an organic feel, previously part of larger architectural feature like a g...

Beautiful Italian carved wooden capital with traces of its original paint and gilding. Unique find. Italy, circa 1750 Weathered and small losses and old repairs.

Ancient main door, carved by hand in solid walnut wood with six panels, built in the 19th century for a noble palace as an entrance to their home in the historic center, maximum size...

19th century French fence railing from a balcony section constructed from wrought iron. It is beautifully handcrafted with twisted, scrolled decoration and heart motifs. The iron sti...

A set of 55 reclaimed Minton tiles, ideal for use as an antique tile splashback, entranceway floor or fireplace hearth in a period cottage or Victorian era property. While we have ar...

These monumental arched antique door shutters were salvaged from a 19th century French chateau. They would have been on the ground floor, attached...

A 19th century French Carrara marble fireplace in the Louis XV style. The shaped, fluted jambs surmounted by panels and scrollwork, with carved leaves above. The shaped frieze with c...

An elegant English George II style fireplace in Portland stone. The carved frieze with leaf motif and moulded centre panel, surmounted by moulded shelf. ...

Grand 17th C. Viennese Baroque Archway Wood Door Surround Architectural Element . Outstanding workmanship of the Masters of the Craft. Large Carved wood black, tone down red and Gilt...

Antique fireplace mantle in terracotta, richly carved with a pair of cherubs holding a noble coat of arms, composed in the early 1900s in Tuscany, Italy. maximum measurements cm W 1...

This is a beautiful Gothic stone sculpture made out of limestone originating from Spain. It was likely from a castle or ancient cathedral as it’s depicting a chiseled cross . It is ...

Antique Handmade Roof Rider Brick, Germany 1844 An antique roof rider made of clay featuring a head in outsider art style. Handmade in Germany in 1844. Good condition, one edge cut ...

ANCIENT GREY MARBLE SINK 18/19th Century Italy HEIGHT 5.51 in 14 cm WIDTH 17.72 in 45 cm LENGTH 51.57 in 131 cm THICKNESS 5.51 in 14 cm WEIGHT 264.55...

Pair of Solid Bronze Door or Drawer Pulls made in the 1800's and imported from Ireland. They could have been cast in England or Ireland and were certainly produced in the Victorian e...

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...

A square push-pull door handle made of cast bronze featuring a raised abstract design. 20th century design, found in Germany. The piece is in good vintage condition with a dark brow...

Beautiful Baroque marble holy water font or stoup, Unique and original period piece. Italy, circa 1650-1750. Weathered condition with some minor cracks that have no influence on the ...

One of a kind, sculptural stair newel post. Because of its large size, its top quality workmanship, its subject matter and its excellent condition we...

This late 19-century English brass door knocker is a delightful relic of the grand country houses of its era. Small in scale because it was designed for interior doors, it was intend...

Antique fireplace in gray Bardiglio Imperiale marble, sculpted simple and geometric but with period columns, hand-built in the 18th century, in Italy. Simple and also usable in mode...

Antique double internal door with frame, with glass and molure doors, complete with original frame and overdoor with lacquered wood panel, early 1900s, already restored and in excell...

Vault keys such as these were used where the vault ribs came together, as a finishing touch. These particular ones depict the four Evangelists. The Angel for St Matthew, the Lion for...

An English moulded bolection fireplace in Nero Marquina black marble with white veins. An elegant shape, based on a period original. Modern. Shelf widt...

19th century Italian carved white marble bas relief depicting a lady standing by a tree holding a garland of flowers over a peacock. Dimensions: ...

Ancient interior door in beautiful larch wood, very carved with a star shape composed of several intersected pieces, built in the 19th century in Italy for a mountain house. Of beau...

Carrara marble floor with symmetrical rhombus early 20th century Floor reproduced in white of Carrara and Bardiglio or white of Carrara and black marquina, Copy of the sixteenth-century floor of the Church of s. Giuseppe Di Pietrasanta (Lucca). Thickness 2cm Ancient manufacture of origin: Carrara Material Apuan marbles Measures: Maximum length of the tile 31 cm Maximum width of the tile 17...

Elegant mantelpiece made of warm Rouge Royal marble in the style of Louis XV from the 19th century! This charming and graceful mantelpiece has a beautiful scallop in the center and b...