Glass Building and Garden Elements

19th Century Arts and Crafts Stained Glass Window This is a pretty and colourful Arts and Crafts Cast iron window, with stylis...

Early XXth century french double towel rail nickel plated brass and clear glass rails. Double towel rail circa 1900 with two clear glass rails and a delicate nickelled brass mount. A...

Fabulous cast aluminum with obscure glass top cocktail table by Molla of Italy. Good size, which will work with our settees listed. Great castings on th...

An antique arched stained glass window attractively decorated with a bird, possibly a nuthatch, and fruiting foliage surrounded by...

Beautiful pair of Art Deco stained glass windows with hanging grapes in the center. The colors are amazing in this pair of windows perfec...

Fabulous pair of cast aluminum stacking tables by Molla with obscure glass tops. Smaller table is 14.25 x 16.25 x 17h. In excellent vintage condit...

A vibrant ecclesiastical stained glass window depicting a religious scene dating from the mid 20th century. This beautiful stained glass window is one of four we are offering for sal...

Victorian style Aquarium or Terrarium, circa 1960, Comprising of two pieces, encased 10 gal. aquarium in a wood cabinet resting on a matching table of classical form using old elemen...

Large French Art Deco Stained Glass Panel for a Window or Door This is a lovely piece, it has very attractive leaded glass in beautiful autumn colours with a handsome dancer set i...

Mid-Century Modern four light sconce with cubist geometric design. Features four glass shades with a rectangular polished chrome frame. Shown with mercury tip rounded light bulbs. Ca...

Chic architectural brass pedestal with fitted glass top, attributed to Mastercrafters. This stunning pedestal exhibits all the style and quality of high end 70's American Hollywood R...

A beautifully hand painted antique stained glass panel in the Victorian style with a detailed floral design. We have another panel almost ...

A set of painted exterior doors with stained glass panels.

An early 20th century antique oak window with two stained glass panels originating from France, circa 1910. This colourful stained glass window is large in scale and features an oak ...

A beautiful woman portrait in the glass closed. A stained glass technique in glass gives a magical atmosphere when light falls and changes the color palette intensity during the course of the day. An Antique stained glass panel...

Fabulous 8 piece set consisting of a large dining table from the early 50s, heavy decorative iron with a large beveled glass top. 6 armchairs from the late...

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...

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

A small modern stained glass panel from the studio of Patrick Reyntiens (1925-2021). Attributed to the artist, this stained glass window de...

A multicoloured leaded glass window from the studio of British artist, Patrick Reyntiens (1925-2021). Attributed to the artist, this large stained glass panel...

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...

Lovely vintage faux bamboo, metal console table. This has been newly powder-coated in a white gloss with a new glass top. This can be used indoors, outdoors, on a patio or sunroom.

Beautiful 4 piece set designed by Viggo Boesen for E.V.A. Nissen & Co. Produced in Denmark in the 1940s. Made out of rattan. Cushions included. Armchairs H 31 IN x W 31 7/8 IN x...

Antique Wrought-Iron Framed Stained Glass Window/Door circa: 1940 Dimensions: H: 80.5" W:45.5" D: 1"

This incredible set of eight carved wood ornaments is dated from the early 20th Century and was made in France. They are entirely all hand-carved ...

Excellent vintage midcentury iron with textured glass top outdoor cocktail table by John Salterini. In excellent vintage condition with minimal...

This is the classic vintage Woodard Chantilly Rose wrought iron Tete a Tete - a pair of attached arm chairs with a small round glas...

Early 1900s arched stained glass transom window. The wide width and highly ornate design shows this was part of an over the top entrancew...

Fabulous pair of Arts and Crafts Cast Iron Owl Andirons with glass eyes. Great detailing in the castings, heavy duty. In excellent vintage condi...

20th century wood door featuring an arched top and done in a light color stain. The window itself has 21 leaded clear glass panes. Bottom of the door features a single wood panel. So...

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

Wonderful 1960’s vintage Mid-Century Modern spun fiberglass forest green painted outdoor or patio dining table & four armchairs on casters. Beautiful condition, keeping in mind that these are vintage and not new so will have signs of use and wear. New paint but not done by us. Needs cushions. Please see photos and zoom in for details. We attempt to portray any imperfections, circa, Mid-20th Century. Who needs to go to a fancy restaurant for dinner when you can stay home and have fine dining like this? This is a fabulous spun fiberglass outdoor dining set comprised of a table with a cinched pedestal base and a round top with a glass insert and four armchairs on casters. So often pieces like this are Attributed to Russell Woodard, and throughout the design community there are debates and discussions as to what in fact defines a Russell Woodard piece, but in fact he never produced spun fiberglass furniture...

Elegant scrolled wrought iron breakfast table or patio garden table featuring four large S scrolls. Conjoined on top and bottom with scrolls on to...

A late 19th century stained glass roundel detailed with the crest of The Royal Institute of British Architects (RIBA). The Institute was establis...

Giacometti inspired metal and glass top coffee table with verdigris style finish paint patina. Vintage coffee table, with patinated painted aluminum fo...

Fabulous and in amazing restored condition. Black lacquer finish with Gilt in the carved areas remains in top condition. Aristocratic family representative in the tapestry is very cl...

This leaded glass window was salvaged from a house in Derby, UK.

Early 20th century pair of extra thick solid walnut doors. Each door features a hand carved cartouche in front. One lower panel was replaced with glass. Priced as a pair. Please note...

A handmade 1970s terra cotta earthenware seahorse sculpture created by California studio potter Victoria Littlejohn. An early and uncommon piece from the artist. Cork backing with leather loop for wall hanging. Very good vintage condition. Unsigned. Victoria Littlejohn is an American potter...

Spanish, 1980s bamboo glass dining table with smoked glass tabletop Thick and strong bamboo stalks give ample support for a dark smoked glass tabletop. ...

A reclaimed Victorian leaded glass window with stained glass dating from the late 19th century. Bold and vibrant, this antique stained glass window centres around a monogram of the letters R and what appears to be a stylised E among colourful florals in front of a golden tree with an abundance of leaves and foliage. It is one of two stained glass windows...

This round piece made at the end of the 20th century comes from a Parisian mansion. Its decoration is inspired by the work of the Franco-cuban decorator Emilio Terry (1890 -1869). Th...

Spectra dichroic blinds, Rona Koblenz Dimensions: W 108, D 5, H 203 cm Material: Dichroic Borosilicate glass 6mm, SS cable, SS fixings Weight: 35/50KG Fixing methode: Hanging De...

Fantastic Italian nautical cocktail table or coffee table featuring a pair of patinated bronze Putti Di Mare mermaids supporting a thick glass pan...

Fantastic iron etagere with 6 shelves 4 of them plate glass. Painted Black iron with a tapered support at the sides. Narrows as it gets taller. Cross x brace at the backside bottom. ...

Fabulous vintage MCM outdoor table with paperclip style pedestal base and round dimpled glass top with a wide metal ring and an umbrella hole in the center. Beautiful condition, keeping in mind that this is vintage and not new so will have signs of use and wear. The entire table has been sanded and painted with Krylon ivory gloss paint. It is in great condition. Please see photos and zoom in for details. We attempt to portray any imperfections. Circa, Mid-20th Century. NOTE: If you love this outdoor paper clip style pedestal base table in the style of Tropitone, we have another outdoor table with curved legs by Tropitone and a set of 6 Tropitone outdoor chairs with cushions...

Pair of large Neoclassical style glass, marble and ormolu pedestals French, 20th century Height 114cm, diameter 42cm This pair of Neoclassical style pedestals have been crafted...

Incredibly sleek midcentury Klismo style coffee table by Thinline. Original cast aluminum with darkened brushed patina finish with glass top insert. A great addition to any Hollywood...

A smart set of 4 matching reclaimed copperlight windows dating from the early 1900s. Each window comprises of an oak frame with clear textured glass and copperlight glazing centring ...

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...

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

These beautiful and important Art Deco Machine Age andirons were realized by the legendary Donald Deskey- the luminary designer behind Radio City Music Hall- in the United States cir...

Solid rectangular glass push and pull door handle in tinted clear glass has a square imprinted motive. The handle can be applied inside or outside on a single door. It can also be used cupboard doors and kitchen units...

Russell Woodard for Woodard Furniture Company, 1950s MCM Sculptura line 3 - tiered bakers rack with three glass shelves and scroll design. The wrought iron and mesh frame has recentl...

An impressive English Art Deco style marble washbasin with accompanying original mirror splashback, manufactured by John Bolding and Sons, 19th and 20th century manufacturers of high...

C. 20th century Victorian style glass terrarium w/iron stand

This beautiful round stained glass window once decorated the former parish church in Glenlivet, Scotland. Dating from the mid 20th century, it is s...

Antique Triangular Stained Glass Window This window measures: 64 wide x 2.75 deep x 55 inches high This window is in Great Vintage Condition with minor marks, dents, and wear. ...