19th Century Architectural Elements

This late nineteenth century French architectural element is hand carved from a single piece of marble and features a central scalloped shell flanked by deep relief scrolling acanthu...

Pair of antique wood carved Gothic Revival architectural Columns Anonymous 19th century; Belgium or Netherlands Wood Approximate size: 41.75 (h) x 11.75 (w) x 11.75 (d) in. An exceptional pair of tall and intricate hand carved vintage wooden 19th century church columns...

Timeless and sturdy, this handcrafted stone bench adds rustic charm and elegance to any garden or entryway. Built to last, beautifully aged by nature.

Four Arts and Crafts cast iron radiator covers or console tables were made by The Liverpool and Macclesfield Cast Iron Co in the 1860s. Pleas...

Arched ironwork features landed and riveted components. Metal work is structurally sound with no losses.

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...

An exceptional pair of Arts and Crafts hand-hammered and hand-wrought iron gates with scrolling floral decoration to the top with some of the widest tight scroll work decoration I ha...

19th Century Asian Architectural transom panel with pierced carved foliage.

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

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...

A large opposing pair of Italian mid-19th century terracotta lions. Each lion is raised on a rectangular base. Beautiful expressive faces and wonderfully carved manes with great patina.

Exquisite Rotunda Structure Kiosk Copper & Carved Stone Bench Seating Columns . Monumental Exquisite refined work King Charles X Period Rotunda rotundus building structure with a circular ground plan covered by a large copper dome...

A very nice proportioned beige colored Louis XVI fireplace mantel from France. Rectangular profiled shelf sit above a panelled frieze centred by a red marble elliptical inlay with o...

A polychrome terracotta angel built in fifteen pieces, in the Luca Della Robbia tradition, salvaged from the Southern Hotel in downtown Baltimore, wh...

This Indian haveli facade, crafted in the 1850's in Gujarat, India, features a beautifully designed balcony with three windows supported by four columns. The balcony showcases modest...

Very rare zinc Bacchus head that once graced a Parisian facade, Original period piece, France, circa 1850-1900. Weathered.

Wonderful wooden panel depicting a vase with flowers in Louis XVI style with beautiful old color. France circa 1850. Weathered. Measurements include the wooden base.. H:35,5cm W:21c...

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

A French carved and painted wooden panel from the 19th century, with musical instruments. Created in France during the 19th century, this architectural panel features a grey painted textured ground adorned with a carved Allegory of the Liberal Arts symbolized by various musical instruments, set inside a molded frame topped with scrolling foliage. Boasting a nicely weathered patina, this 19th century French carved wooden panel...

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...

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...

Beautiful antique fireplace mantel (fireplace) with a nice patina, elegant details and in perfect condition. It is a very warm, deep honey colored stone which reflects the light in t...

ABOUT An original solid wood ship's deadeye triple hole pulley. CREATOR Unknown. DATE OF MANUFACTURE c.1800s. MATERIALS AND TECHNIQUES Wood. CONDITION Good. Wea...

Carved stone water filter from the frontier region of Argentina.

Spectacular and Amazing French Louis XVI style fireplace mantel in beautiful Italian Carrara white marble. This mantel is decorated with exquisite and exuberant carvings, with a b...

Late 19th century antique architectural house overdoor carved wood pediment. The pediment came from an old Victorian home in Buffalo NY. and has been st...

Hand curved Art Nouveau white marble bust of a young woman. Her elaborate hat framing a beautiful face. The style of clothing of the late 19th century Art Nouveau period. The bust rest on a round marble pedestal...

Two 19th century polychrome cast iron dormer windows in very good condition Beautiful patina.

19th Century carved wood panel with lotus bud motive. An Architectural Element from a Buddhist Monastery in Northen Thailand. A Lotus Bud representi...

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

An English Victorian period painted metal obelisk finial from the 19th century with turquoise, blue and light green painted accents and weathered appearance. This English Victorian p...

Recently discovered in a secluded private chapel nestled within the enchanting Loire Valley in central France, this remarkable pair of mid-19th century polychrome terra cotta archite...

Impressive, beautiful and richly carved Louis XV fireplace from France, 19th century This fireplace is executed in impeccable Belgian black marble. The hand-painted porcelain insert ...

George Smith and Co. The Sun Foundry, Glasgow, attributed. A Gothic Revival cast iron gate with both side railings in the style of Dr C Dresser with all-over Geometric decoration. Re...

Nice French Campagnard style fireplace mantel in lovely limestone. This gem comes from central France, burgundy area. Its perfect size make it possible to install this mantel in al...

Early 19th century brass bird cage, circa 1810-1830 The bird cage has two bird seed containers that attaches to the cage.   

This is a bronze statue Auguste Rodin Eternal Springtime reproduction. It is based on the couple, Paolo and Francesca, the passionate lovers from the fifth canto of Dante's Inferno. ...

Beautiful 19th century Italian giltwood carvings. Very fine quality. Makes a great accent piece. Note: Sold per piece. There are 5 available. ...

A French Napoléon III period framed architectural oil on canvas panel from the mid 19th century, with Allegory of the Arts and rinceaux motifs. Created in France at the beginning of ...

19th Century Victorian Marble Fireplace Mantle Keystone Delicately carved architectural cartouche made from white Carrara Marble. This antique keystone...

Rare salvaged young Queen Victoria Coronation Railings circa 1877 depicting crown and braid profile. These were balcony facade railings from an ol...

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...

A pair of antique doors with arched and paneled design with remnants of old green and other encrusted paint. The doors do have some old hinges an...

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...

A pair of 19th-century carved Italian architectural elements mounted on wood bases. The Rococo style carvings showcase intricate detailing, curvilinear forms, and ornate motifs thro...

An iron architectural building star anchor mounted on a steel base. The 19th Century star is originally part of a brick building and used to anchor in to...

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...

TALL Antique French cast iron cross crucifix~~chapel church garden architectural yard cemetery prayer room wall hanging~~c. 1890s Fab...

19th century French large zinc finial was originally a decorative element on a Parisienne building. It is now used as a decorative sculpture.      

A French Cast Bronze Door Knocker, 19th Century Provenance: Private Australian Collection. Dimension: Height: 21cm Width: 18.5cm Depth: 5cm

A wonderful Louis Sullivan designed terra cotta fragment from the Chicago Stock Exchange, 1893, by the legendary firm of Adler & Sullivan. On a custom wall mount.

Beautiful iron weathervane roof finial. Very rare piece. France, circa 1800-1850. Weathered Measurement includes the wooden base.

Neoclassical style building element in the neoclassical taste. Having scrolling design with fleur de lis finials. This item comes with two detached pineapple form finials. Great to u...

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...

This magnificent building facade was once part of a grand mansion in Gujarat, India. It is entirely made from Teakwood, which is highly resistant to in...

EXQUISTE Antique French PAIR of Oak WINE Buffet Doors~~Early 19th Century Fabulous pair of painted wine doors can be hung on the wall of any bar or game roo...

Exceptional, impressive and monumental 19th century antique fireplace surround in beautiful Arabescato marble. The carving is in superb quality showing the high standard and exceptional craftsmanship of its sculpturer. This unique antique chimneypiece mantle is a one in its kind The style of this antique mantle...

Copper over cast iron newel post from the Chicago Stock Exchange. Louis Sullivan Architect. With new custom mount.

Pair of Marble Columns is an impressive original decorative object probably realized in the 19th century (bases are much older). Original very fine green marble and white marble (...

Beautiful collection of 3 zinc flame roof finials. France, circa 1850-1900. Weathered, small losses. Measurement is individual and of the largest. H:32/44cm W:18,5cm D:cm