European Building and Garden Elements

Fable Outdoor Swing armchair The Fable swing is completely customizable, which offers you the possibility of turning it into the main attraction and st...

Set of two gilt wrought iron leafed planters on tripod bases. Manufactured at the Mid-Century Modern period, Spain, 1950-1960. Both standing on tripod bases. Different design, one with a triple leafed top and the other one with leafed crown shaped top. One shows its original gold leaf gilding and the other one a gilt patina finish in bronze-gilt tone. Beautiful placed alone or as a part of a set with other planters in different sizes. To be used indoor or outdoor at your garden, patio or veranda decoration. Measures: The triple leafed plant stand is: 38 cm W x 32 cm D x 50 cm H The other planter is: 35 cm x 33 cm D x 47 cm H Pair of Iron Planters...

Perfection.

FOOSBALL TABLE RS2 DESIGNED BY RAFAEL RODRÍGUEZ for RS Barcelona RS2 is a design football table, a spectacular reinterpretation of one of the all time classics of Spanish game cultu...

Belgium / 1920 / fireplace / oak / romantic / antique A beautifully hand carved fireplace in solid oak made in Belgium around 1920. This spectacularly detailed antique fire surround...

Antique Hand Hammered brass tobacco box on footed stand with floral patterns all around. RB#01. It's a very old piece from the 18th century

Bronze male sculpture signed. Fonderia Giorgio Sommer Calabritto Napoli Thomas, sculptor, lived and worked in the Naples area, and especially on Capri, from 1889 to 1906. Given this ...

Beautiful weathered hand carved stone angel head ornament that once adorned a facade. France, circa 1650-1750. Weathered. Measurement includes th...

20th Century Art Nouveau Style Cast Iron Combination Fireplace. Recently Salvaged From A London Town House And Blackened To Its Original Finish. Suitable For A Small Chimney Breast. ...

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 large and masculine 19th century arched fireplace surround carved in rich vareated Verde Antico marble, a generous double thick bullnose shelf rests above a stepped and moulded under cornice, supported by a raised scalloped fluted keystone, and flanked by a pair of large spandrels each carved with relief shaped fielded panels and moulding. Quarter round side returns connect to deep revels, all resting on large shaped foot blocks with Belgian Black Marble insert cappings, a splendid and exceptional example shown with its original highlighted arch cast iron insert. Scottish, circa 1895 Arch opening size: 908mm high x 1033mm wide. Overall base block width: 1828mm Marble notes: Verde Antico marble is a breccia of serpentinite, schistose calc-silicate and crystallite marble clasps in a lime-green serpentine matrix, from Larissa, Thessaly, Greece, the quarries were re-opened sometime between 1895- 1905, for the first time since the reign of the Emperor Justinian (483-565) A similar type marble has been obtained in later years from Northern Italy that was both cheaper and faster to extract. Examples of this can be found all over the world, circa 1930 Cartier...

Decorate a man's office or hunting lodge with this elegant antique bronze composition. Titled "Piqueur au Relais", and signed on the base by the artist, Hippolyte Moreau, the bronze ...

A fine quality monumental pair of gilt bronze mounted marble pedestal with Corinthian capitol Origin: French Date: 19th century Dimension: 54 1/4 in x 12 1/2 in.

19th Century tiled cast iron fireplace insert. With adjustable canopy hood, removable front bars, bottom grate & ash pan including a very unique set of original hand painted victor...

Carvings with a military, musical, hunting, or agricultural theme, known as trophies, became popular during the period of Louis XVI. This pair of large trophy panels have Neoclassica...

This is a pair of antique decorative fireside tool rests. An English, brass andiron or fire dog, dating to the early Victorian period, circa 1840. Elegant decorative appeal and of...

19th-century French provincial wardrobe door with carved upper panel and grooved beveled trim detailing. Install in a new home to enclose a pantry or linen cupboard to instantly add ...

George Washington Jack for Longden and Co. An Arts & Crafts fireplace crafted from cast iron for the fire grate, copper plating on the top panel, and Cipollino marble for the fire s...

A wonderful painted English fireplace screen or guard, made circa 1890. The perforated design is intended to allow all to enjoy the sight and warmth of a wood burning fire from a saf...

A handsome antique mahogany Victorian fire surround dating to circa 1890. This late Victorian era fireplace will make a handsome statement in interiors modern and traditional alike ...

Two decorated stained glass panels, completely restored, dated, circa 1935.

Ugo Trevisan, fireplace, copper, iron, stone, Italy, 1960s This Italian fireplace, designed by Ugo Trevisan, emerges as a monumental creation, characterized by its peculiar presence...

A pair of 19th century French cast iron white painted garden urn planters. Weathered rusty patina with remnants of blue and green paint layers. Circa 1860-1880. Weight: 34 Lbs each D...

A gorgeous antique 19th-Century French cast iron jardiniere or planter with the lovely original surface and patina. This beautiful jardiniere is nice large size, heavy and well cast,...

A very rare and fine 19th Century brass fire screen, of exceptional quality, fully restored and of grand proportions. The protective wire mesh of shaped, rectangular form is set with...

A well balanced 19th Century manner statuary marble finely carved fireplace surround. A substantial and deep top shelf, supported by a framed and recessed frieze, this is in turn fla...

A wonderful painted English fireplace screen or guard, made there circa 1890. The design is intended to help keep coals, embers and sparks in the fireplace and clothing, pets and sma...

Introducing the Philippe Starck In/Outdoor Round White Tulip Bar Tables "DR.NA" for Driade, a stunning fusion of contemporary design and functional ver...

Large scale jardiniere, dating to circa 1890-1900. This jardiniere is of decorative cast iron construction. These were historically overpainted, but this one is without paint which...

This woodwork characteristic of the Art Nouveau style comes from the Café Barjot located avenue Ledru-Rollin in the 12th district of Paris, it was made in 1905. It is composed on a f...

Mid-century Swedish Brutalist fire screen by Olle Hermansson for Husqvarna. Capture attention with this extraordinary mid-century Swedish Brutal...

Le prix est pour le lot de 15m² Octogone à cabochons en terre cuite pour un sol classique et élégant. Parfaits pour ajouter une touche de charme rustique à tout espace.

Hand-carved in 11 sections of Estaillade limestone from Provence, France, this single-pillar wall fountain has a wonderful cream patina. A pair of iron bars extend from the front wal...

Antique 19th Century French hand carved sandstone female bust garden statue or sculpture. Female carved head and base, with flowing hair, covered bonnet on back of head, ribbon and ...

New green cast aluminum three-seat garden bench Very confortable and resistant Its finish makes it able to withstand the inclement weather. The paint is epoxy resin that is passe...

Inlaid planter of circular form retaining the original brass liners, enclosed in spindle frame with brass lion mounts raised on three splayed supports. Dimensions Height 18 Inches Wi...

17th century French andirons made of wrought iron. The andirons have spit hooks to grill food. They are in good condition.

Largest size, museum quality and great condition pedestal stand. If only the best and the rarest is good enough for you then this monumental and timeless antique marble pedestal cou...

French Gothic fireback reproduction. With decorations in the style of the early days of casting firebacks. 20th century. The fireback has a black / pewter color. The fireback is in ...

A monumentally large stone wall clock attributed to Esmond Burton. In 12 pieces with stylised foliage and two opposing gazelles with the bronze clock in the centre with gilt Roman nu...

Antique cast iron French pastry style black scrolling "Butterfly" coffee table with marble top. Item features impressive cast iron construction, four "butterfly wing" legs, fancy scr...

Crafted from elegant White marble, this deluxe bathroom set is designed to enhance both the beauty and functionality of your bathroom, spa, or hotel. The set includes a rectangular ...

Beautiful 19th century French Napoleon III period fire fender. The fender is made of cast iron and wrought iron. The condition is good.

A limestone bolection fireplace of large-scale, the frame measuring 12" (300 mm) wide. This simple and timeless style of fireplace was used by architect Sir Christopher Wren...

Original buff terracotta urns with original terracotta plinths from the gardens of a private Scottish estate. Elegant gadrooned stems raised on stepped bases adorned with delicate ...

Pair of two garden chairs in wrought iron for indoor or outdoor You must indicate if you want the product with the special treatment for...

Incredible over-scale copper chocolate pot, or vat, in attractive original verdigris finish. This impressive pot can be repurposed as a large planter, or just a stand alone sculptura...

Substantial set of concrete zig zag chairs. Exceptional presence. Stunning presence and design. Industrial steel rebar runs inside the concrete reinforcing the chair and table giving...

Hand Carved Stone Fountain Head Spout Backsplash Antiques Rustic Wall Mount CA . Nicely carved stone wall mount fountain spout sculpted figure of a woman with metal spout. A beauti...

An antique lancet-arched stained glass window of five biblical figures by Hardman & Co, Birmingham. Competently painted, this dramatic stained glass window dates to 1889, once a par...

21st Century Outdoor Wood Burning Fire Pit. A Contemporay Hand Made Blackened Steel Cylindrical Shaped Luxury Fire Pit. Unused And Fantastic Condition Reardy For Shipment. Suitable F...

Set of 2 Polished Solid Brass Batlló Door Handle by Antoni Gaudi Materials: Brass Dimensions: D 4 cm x W 10 cm x H 15 cm. Solid cast brass with polished finish. About item: A...

Very beautiful carved Antique Louis XV marble fireplace mantle from the 19th Century. In a very unique quality. Recuperated from a mansion n...

Empire style wall fountain in terra cotta clay with a very ornate backsplash, oval lobed basin and plinth adorned with a large scrolled Acanthus leave. Wear consistent with age and u...

A rare and fabulous French Art Deco large bronze signed sculpture of a bunting panther by Andre Vincent Becquerel, French, 1893-1981 This lovely cast, in a warm dark brown patina with green undertones is sculpted with highly stylized anatomical details. The sculpture rests on self base. Becquerel's favorite subject matter was cats. He often captured them in a natural setting, stretching, stalking, clawing at a tree stump or walking in tandem. The model offered here with the panther bunting/rubbing against a stump of a tree is a rare version. This innate feline behavior is seen as a sign of affection, or of a transfer of their scent to claim territory or marking you as a friend. Becquerel was born in northern France. He attended the École des Beaux-arts in Paris and studied in the ateliers of Hector Lemaître and Prosper Lecourtier, the Animalier sculptor. He also worked with Charles Valton, who had studied under both Barye and Fremiet, two other renown animalier sculptors. He began exhibiting at the Salon des Artistes Français in 1914 and continued to do so for the rest of his career. In 1944 Becquerel was awarded a bronze medal by The ‘Artistes Français’ and a gold medal in 1945. In 1952 he won the Prix de l’Yser, which made him hors concours and thus above the future competition process. Cubist, Impressionism, Expressionism, Futurism, Modernism, Realism, Cubism, Piero Palazzolo...

A large 19th century religious stained glass window in an unusual later oak frame. Beautifully detailed and vibrant, this stained glass panel depicts Jesus and Saint Matthew observi...

A very large and highly detailed antique stained glass window circa 1900 of French or Italian origin depicting a neoclassical scene. This is one of four similar windows we are sellin...

Mid 20th century classic Roman style Italian made limestone sink. There are soft shades of cream, gray, golds, and more. A hole has already been drilled for convenience.