Hand-Crafted Architectural Elements

'"QUI ME TANGIT VOCEM MEAM AUDI"- He who touches me hears my voice. (In tranlsation from Latin). So it says on the Bell. An absolutely unique Venetian Servant Bell with a Velvet go...

pair of brackets support, stone. gothic style. they were used to support ledges, windowsills, balconies, fireplaces, fountains. in gothic and renaissance buildings. condition is good...

1930s Architectural Model, possibly a hand made doll house? Modernist Adobe Home. Amazing design, proportion. Color, patina, surface. Very detailed. Removable exterior walls, working light fixtures in each room as well as outdoor porch light.

This large antique decorative tile was made by Craven, Dunnil & Jackfield of England in approximately 1890 and done in a period Art Nouveau sty...

A stunning pair of antique Italian Neo-classical faux marble wooden urns. Born in Italy around the 18th/early 19th century, sculptural lidded urn architectural element form, hand ca...

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

Presenting a gorgeous set of 3 Art Deco glass door handles with plates. Amazingly complete set! Probably made in the US circa 1925-30. These ar...

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

Vintage Delft tile featuring a noble man riding a horse. This characterful Delftware tile a man on horseback in expressive blue coloring on a whit...

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 Portuguese Baroque architectural wall frame with intricate scroll details, original painted patina, in good condition. Wear consistent with age ...

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

This pair of Italian 18th century (early 1700) hugely decorative archictectural pilasters friezes is deeply hand carved with a wonderful compositions of fruits, flowers and leaves, the whole hand painted, lacquered and gilded. These pillars are an amazing examples of Sicilian folk art, they maybe were part of choral ensemble and now are antiques artworks...

Moroccan Hand Painted Cement Tile with Traditional Fez Design, Set of 6 Blue and White colors. Moroccan Hand-Painted Cement Tile with Traditional Fez Design. Moroccan handcrafted a...

Two pairs of fabulous figural brackets created from cast plaster. Elf or Merlin like figures scrunched up under the bracket. Highly detailed castings w...

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

Moroccan handcrafted and hand-painted cement tiles with traditional Moroccan Blue color. These are authentic Moroccan reclaimed encaustic tiles...

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

Presenting a gorgeous and unique pair of art nouveau hand beaten bronze door push plates. Each being 13.5 inches long. Probably made in the US c...

Moroccan Encaustic Cement Tile Border with Moorish leaf Design. Moroccan handcrafted and hand-painted cement tiles with traditional leaves design in yellow, white, blue green and wh...

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

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

Moroccan Encaustic Cement Tile Border with Moorish Andalusian Fez Design. Moroccan Hand-Painted Cement Tile with Traditional Fez Design Moroccan handcrafted and hand-painted cement...

Presenting a gorgeous and unique set of 9 Art Nouveau hand beaten bronze door handles with plates. Amazingly complete set! Probably made in the US circa 1910 and most definitely influenced by the English New Lyn School of Arts and Crafts Era hand-beaten copper pieces. These are without doubt Art Nouveau in style and from the period. They were salvaged from a Mansion in Dallas that was built in 1929. We are of the opinion that these were ‘custom made’ pieces. They are unmarked and unsigned and they appear to be made of bronze with a brass and copper mix. The Set consists of: 6 double sided classic door handles/knobs with central lock pin – suitable for door of a minimum of 1.5 inches thick but can accommodate thicker door. Each of these 6 also come with their original back plates (x12) and keyhole covers (x12) for either side of the door. 2 handles/knobs with central lock pin but with small knob on backside- suitable for door of a minimum of 1.5 inches thick but can accommodate thicker door. This pair also has their original (front) back plates and a Yale back plate on the rear. 1 double sided turning door handles/knobs with turning central lock pin – suitable for door of a minimum of 1.5 inches thick but can accommodate thicker door. This also comes with it’s original back plates (x2). 1 Spare Keyhole cover, 2 spare back plates, 1 Spare plain Bronze Turning Knob with pin and 2 spare Hand-beaten Bronze Turning Knobs with pins. TOTAL OF 63 PIECES! These were originally used in the Mansion we rescued them from, with Yale Mortice Locks (a number of which we have listed separately in this category). The fact that they are hand beaten bronze, is highly unusual in itself as most of these types of pieces were copper. Also, we rescued these from the now demolished Mansion along with the UNIQUE hand beaten Bronze Door Straps...

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

Moroccan Encaustic Cement Tile Border with Moorish Fez Design. Moroccan handcrafted reclaimed cement tiles with traditional Fez color. These ar...

A magnificent pair of Qing Dynasty (1644-1912) antique Chinese architectural elements with beautifully aged patina. circa 1900 Most impressive large scale, likely sculptural corbels from a Buddhist temple or imperial palace, late 19th / early 20th century, each intricately hand carved with very fine detailing, similarly styled pair, modeled as guardian foo lion, depicted with outstretched arched body, mouth ajar, clutching floral ball, having elaborate openwork carvings, with scattered remnants of original polychrome paint remaining. The highly decorative architectural salvaged ornamental building elements presented on custom made hand carved wooden sculpture stands...

24 pezzi speciali fabbro, antichi. utilizzo sostegno cancellate e borchiatura portoni. inclusi 2 pomoli antichi. le foto fanno fede x il numero e la condizione degli oggetti.

Exceptional antique foot stool made of hand carved wood, newly upholster with beautiful hand embroidery Suzani textile. Great decorative item for any room.

FLOOR IN POLYCHROME MARBLE WITH LOSANGE IN WHITE CARRARA MARBLE early 20th Century Floor made with white Carrara marble and various polychrome marbles. The polychrome marbles ava...

Lotto fregi e decori in metallo vintage. conservati originali. le foto fanno fede per numero pezzi e tipologia.

A delightful turtle - decorative when resting, however the piece winds and, after winding, when the tail or head are pressed a bell rings - a compliment to many spaces. As a decorati...

Say ‘Au Revoir’ to the expected, and a big hello to Diego Faivre’s Minute Manufacture designs. Offering an intimate insight into the design process, Diego Faivre’s Minute Manufacture serves as a creative homage to the idiom “time is money...

Unique and interesting set of 4 decorative plaster greek columns. These fun pieces have a variety of uses that add to their striking style and beauty. Model...

A one-of-kind pair of contemporary exclusive columns, entirely handmade in Italy combining a modern style with high-quality craftsmanship and rich materials: the plinths in handcraft...

Antique 18th century French Shutters in old putty grey paint. In total, we currently have a grouping of (14) individual shutters, or (7) pairs. The antique French shutters...

A French oak potière, or shelf with brass hooks for hanging pots and pans in the kitchen. The top has six brass hooks and the bottom ledge has a groove to display plates and platters...

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

FLoor with Hexagons and Triangles in White Carrara Marble and Red Terracotta early 20th Century Made with white Carrara marble hexagons and terracotta triangles. Copy of the floor of the Basilica of Collemaggio (L'Aquila). THICKNESS 3cm WEIGHT 75 Kg FROM SIDE TO SIDE 25 cm TIP TO TIP 28.7cm MATERIAL White Carrara marble and red terracotta Delivery time: 30/40 days...

FLOOR WITH ASYMMETRIC RHOMBLES OF ARTESIA, COTTO AND CARRARA MARBLE early 20th Century Made with Cicagna slate, ancient Tuscan reclaimed terracotta...

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...

We are delighted to offer for sale this hand carved in sycamore wood printing block with double flower detail This piece is part of a suite, I ...

We are delighted to offer for sale this hand carved in sycamore wood printing block with twelve flower detail This piece is part of a suite, I ...

We are delighted to offer for sale this hand carved in sycamore wood printing block with blue flower detail This piece is part of a suite, I ha...

Royal yellow marble fountain - two lions early 20th century Basin with double lion's head in semi-octagonal shape and carved shelf for drainage. HEIGHT 77c...

Moroccan handcrafted and hand painted cement tile with traditional leaves design. These are authentic Moroccan encaustic tiles hand made by artisans in Fe...

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...

FOUNTAIN IN ROYAL YELLOW early 20th Century Basin with double semi-octagonal ram's head. Hollowed out shelf for drainage, with volute. HEIGHT 77cm WIDTH 52cm DEPTH 41cm good co...

Antique chain sculpture that defies gravity. The term brutalism — which derives from the French word brut, meaning “raw” — was coined to describe a style and trend that emerged in th...

Antique zinc weathervane that we believe probably came from France and was constructed around the turn of the century and by that we mean circa 1900. Completely original and unrestor...

PRESENTING a GORGEOUS AND UNIQUE Set of 4 Art Nouveau Hand Beaten Bronze Decorative Door Straps. Large straps, with each being 30.25 inches long. Pro...

A pair of antique very decorative carved painted wooden panels from India. Could be used as very decorative headboards for a bed. Gorgeous pair of carved and painted panels with a lot of character, with good proportions, very good height, exceptional width. Great colour and patina throughout. The dimensions are: Height: 140cm (55.1in) Width: 140cm (55.1in) This pair of carved and patinated Indian panels...

19th Century American white painted fireplace mantle with strong molding and handsome detailing. Dimensions of opening: 32.45" w x 29.13" h

We are delighted to offer for sale this hand carved in sycamore wood printing block with flowers wines This piece is part of a suite, I have in...

Rare hand carved stone Wellhead cistern Basin Antique Fountain Focal point LA CA. 19th Century Neogothic Water Wellhead hand carved stone planter Basin ...

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...

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...

This tall pair of Italian 19th century Louis XVI style hand carved walnut architectural columns with Corinthian capitals and stone base boasts a fluted and slender body crowned with a Corinthian capital deeply sculpted on the round, decorated with carvings of acanthus leaves, rosettes and scrolls elegantly finished at the base with a beaded border. These monumental architectural wooden elements rest on a round shaped sandstone pedestal ending with a square base socle. Over two centuries in age and hailing from Italy, this dramatic pair of highly decorative antique building elements are made out of solid wood carved in the round, handcrafted as pure representations the original ancient Greek models with faithful and accurate fluted columns and scrolled capitals decorated with volutes. The stone block plinths below provide the ideal elevation, complete with fine moldings and raw surface. This large pair of antique Greco-Roman style boasting great and undisputed antiquarian value and high end Italian craftsmanship quality will anchor any interior design. Suitable for historic houses entrances or portal, important offices or adaptable to the most imaginative and high-level ideas: to flank a bookcase or customized shelving...