19th Century Building and Garden Elements

A very charming later 19th century Garden Table from the Provence region of France. Soundly constructed from painted iron and is collapsible. Super patina. Perfect for any garden ...

19th century cast iron tiled fireplace combination fireplace. Late Victorian fireplace complete with canopy, front bars, hood in a highlight burnished...

Very unique and big, old oak wooden gate with wrought-iron hinges from the 19th Century.

Elegant & Grand Pair of Antique Wrought Iron Driveway Entrance Gates for portal , Circa 1814-1824 King Louis XVIII exceptional pair of hand-hammered and hand-wrought iron gates with scrolling decoration to the top and throughout . With large elongated Medallions three-dimensional form and draped. Outstanding ironsmith quality Done by the masters of the craft . There is some surface rust as seen in the pictures and the video . you can feel the soul of the blacksmith's hammer across this Huge Pair of Gates. Thick hinges to handle the extreme weight of this work of Art. the bolt arms Holding the sides still present to have it attached to your portals. Wide and tall gates have a very attractive and simple design. It comes without the overthrow , if you would like to have the spiked overthrow, it need to be retrofitted. Large Antique Gates for your Carved Stone Doorway Entryway Door surround portal . it will add the Charm needed for the stone portal frame...

A set of four vintage brass door pulls in the style of Chippendale - the four are from an original piece of furniture we no longer could save. ...

Marvelous antique French jester sculpture. This large and amazing sculpture of a sitting court jester in the Renaissance Style truly is a rare find. ...

Decorative brass andirons with decorative bar, Louis XIV Style Period.

A pair of French, 19th century free-standing wrought iron wall console tables. The slender wrought iron bodies surmounted with leave and flower ornaments on an architectural frame wi...

A large and most impressive antique Indian early bronze copper alloy Hindu temple vahana statue / sculpture. India, likely Deccan region, 16th-19th century, exceptionally executed figural work depicting Nandi Bull (devine steer / mythical horned cow), a significant figure in Hinduism, vehicle (mount) of diety Lord Shiva, symbol of devotion, and an important part of Hindu culture and philosophy. This rare high quality example, heavy, nearly solid, in stylized Brahman bull animal form, the naturalistic rendering with meticulous attention to authentic detail throughout, including proper facial features and comprehensive muscular structure, beaded jewelry decoration, natural looking horns, utter and teats, curved tail, and integral hoof feet. Attractive antique metalwork with warm alloy tonal variations, ehanced by beautifully aged worn weathered heavily patinated bronze & copper alloy accented by scattered visually striking verdigris bluish green patina. Dimensions: (approx) 24" Tall, 29" Wide, 11" Deep Probably 70lbs Ideal for both indoor and outdoor use History: NANDI: THE DIVINE STEED AND SYMBOL OF DEVOTION Introduction In the rich tapestry of Hindu mythology, few figures carry the depth of symbolism and spiritual significance as Nandi, the divine bull. As the sacred mount of Lord Shiva, Nandi occupies a revered place in Hindu culture and philosophy. In this blog post, we will delve into the multifaceted significance of Nandi, exploring the spiritual, cultural, and symbolic dimensions that make this celestial creature an indispensable part of the Hindu pantheon. The Vahana of Lord Shiva: Nandi's most prominent role is that of the vahana, or vehicle, of Lord Shiva, one of the principal deities in Hinduism. In this capacity, Nandi is not just a physical mount but a symbol of unwavering devotion and loyalty. The inseparable bond between Lord Shiva and Nandi signifies the importance of humility, obedience, and dedication on the spiritual path. Symbol of Strength and Virility: Depicted as a powerful and muscular bull, Nandi embodies strength and virility. The bull is a symbol of fertility and abundance in Hindu culture, representing the life-sustaining forces of nature. Nandi's robust form serves as a reminder of the inherent power within all living beings and the vital energy that sustains the universe. Guardian of Shiva's Abode: In many Shiva temples, one often encounters a prominent statue of Nandi positioned at the entrance. This is not merely decorative; it is symbolic of Nandi's role as the gatekeeper to Lord Shiva's abode. Devotees believe that Nandi safeguards the sanctity of the sacred space and acts as a spiritual protector, warding off negative energies. A Beacon of Spiritual Discipline: Nandi's demeanor and presence are reflective of spiritual discipline and meditation. Often depicted in a state of deep contemplation, Nandi serves as an inspiration for seekers on the spiritual path. The bull's stillness and focused gaze symbolize the importance of inner reflection and concentration as essential components of the journey toward self-realization. Cultural and Artistic Significance: Beyond its spiritual and religious connotations, Nandi holds immense cultural and artistic significance. Sculptors and artists across centuries have crafted intricate depictions of Nandi, showcasing the depth of Hindu artistic heritage. The various poses and expressions of Nandi in art not only tell stories from mythology but also contribute to the aesthetic richness of temples and cultural artifacts. Nandi's demeanor and presence are reflective of spiritual discipline and meditation. Often depicted in a state of deep contemplation, Nandi serves as an inspiration for seekers on the spiritual path. The bull's stillness and focused gaze symbolize the importance of inner reflection and concentration as essential components of the journey toward self-realization. Cultural and Artistic Significance: Beyond its spiritual connotations, Nandi holds immense cultural and artistic significance. Sculptors and artists across centuries have crafted intricate depictions of Nandi, showcasing the depth of Hindu artistic heritage. The various poses and expressions of Nandi in art not only tell stories from mythology but also contribute to the aesthetic richness of temples and cultural artifacts. Festivals and Celebrations: Nandi is also celebrated in festivals like Maha Shivaratri, where devotees pay homage to Lord Shiva and his divine mount. During these festivities, the spiritual significance of Nandi is magnified, with rituals, prayers, and processions that honor the inseparable bond between the bull and the lord. Conclusion: In conclusion, Nandi is far more than a mythical creature or a decorative element in Hindu iconography. As the loyal steed of Lord Shiva, Nandi symbolizes profound spiritual truths, embodying qualities of devotion, strength, and discipline. Whether gracing the entrance of a temple or adorning the altar in a devotee's home, the significance of Nandi extends beyond religious boundaries, touching the hearts and minds of those who seek inspiration on their spiritual journey. The divine presence of Nandi serves as a timeless reminder of the enduring values that enrich the human experience. Various Possibilities: Ideal for both use as an interior / indoor sculpture or exterior / outside / outdoors / patio...

A Spanish stone carved corner sink from the 19th century. This antique sink from Spain, carved from a single piece of stone, was is designed to fit ...

Fire Place Mantel with mirror, ca. 1870-1880 France, Solid walnut, Spectacular French Fire Place Mantel made of solid walnut. Tapering pilasters c...

American cast iron and painted horse head hitching post with a central fluted ringed column resting on a squared base, Mid 19th Century.

Vintage garden cast iron settee and chair. Charming antique Victorian style 2-piece garden seating set black cast iron construction and includes sett...

This stunning antique Victorian stick and ball panel is an architectural salvage from a bank where it was used as a teller's partition screen and gate. It is constructed of solid wood (likely mahogany) and made sometime in the late 19th century or early 20th. It could be repurposed in a number of ways making it a versatile historic architectural piece. Please note that the panel alone is not stable and is somewhat delicate, as it was originally attached to a ceiling at the top and bank counter...

A fine Classical Tazza shaped urn, cast iron, English, 19th century This example is a beautiful large piece Undulating body with egg and dart casting to border This urn is a hea...

Neoclassical style building element in the neoclassical taste. Antique French long segment of zinc metal architectural fragment that will make a unique wall decor...

Pair of Italian Neo-classic style (19th Century) iron and gilt decorated gates with floral & grape designs and side panels (PRICED AS Pair).

Antique Victorian stained & beveled fruit bowl transom window. A beautiful window with unusual glass and jewels. Arched top circa 1890's. Granite back clear background glass. 2 1/4...

An antique 19th century Statuary white marble Louis XVI style fireplace mantel, with bow fronted frieze and shelf. The jambs with deep side returns and fluted front panels terminatin...

Once a common sight in courtyards throughout rural China, this textured stone vessel was used as a grain or water trough for chickens and other barnyard fowl. Chiseled from a block o...

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

Each jamb of the fireplace has a brown bear standing on a plinth holding a heraldic shield. Above the bears are carved capitals supporting a substantial breakfront cornice shelf. The...

A pair of French 1860s white painted cast iron urns. Wear consistent with age and use.

Antique American federal wire & brass fireplace fender. Black wire with brass banded rails. Originally purchased at Eve Stone Antiques.

19th century French Napoleon III 3-panel fireplace screen. The screen is made of brass, iron and iron mesh. It is in a good condition and is fit for use in front of the fireplace.

This vintage Chinese noble steed horse sculpture is hand craft with exquisite detail which was very common in horse sculptures crafted during the Tang Dynasty. Especially for imperia...

19th Century French rococo or baroque style bronze fire screen accented with cherubs and fender corners. Screen - 28.25” x 8” x 28” / Fender Corners - 9” x 3.5” x 16” (Width x Dep...

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

Make a statement in your home with this tall and elegant antique French limestone fireplace mantel. With its graceful lines, clean proportions, and beautifully aged patina, this exqu...

A pair of 19th century French black painted cast iron garden urn planters. Beautiful weathered rusty patina with some paint loss. Circa 1850-1870. Weight: 59 lbs. each 14"H x 21" Di...

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

Once used on a provincial Chinese farm to hold water or animal feed, this early 19th-century stone trough is celebrated today for its organic form and rustic authenticity. The petite...

Functional and beautiful early 19th century French Neoclassical Period roasting jack made of cast iron, wrought iron and brass. It is used for cooking in a kitchen fireplace. It is i...

A very fine and charming pair of French 19th century Louis XV style figural gilt and patinated bronze chenets, each surmounted with a seated patinated bronze putto holding on to a br...

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...

Norman Louis XIII Style Walnut and Gilt Library Paneling Origin: France Period: Late 19th – Early 20th Century Style: Louis XIII Materials: Solid walnut with gilt details De...

French pedestal wine press screw, 19th century. Brutalist style with octogonal base and top. Dimension of the base : 13.39 in. x 13.39 in. (34 x 34 cm) Dimension of the top : 11.81 i...

Antique Cast Iron Branch Form Garden Bench. Circa 19th Century 1840-1849 Period. Aesthetic Movement. Featuring rope tied oak branches with leaves motif. This bench has seen many chan...

This fine, exceptional original antique fireplace surround from paris is in pure White Statuary Marble. The condition as well as the carving is exceptional. It is from the grand Gold...

This Museum quality original antique fireplace mantle in Rouge Griotte marble was installed in Grand interior in Paris. It is a Regency Rococo style from the 19th century. The front ...

A very large pair of painted cast stone lion sculptures, inspired by the original marble creations of Antonio Canova (1757-1822) for Pope Clement XIII's tomb in St. Peter's Basilica....

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...

19th Century French Louis XIV Wrought Iron Bombe Balcony Railing is a stunning work of the metal sculptor's art! Hand-forged during the heyday of the Napoleon III Period, it feature...

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...

SUPERB Antique LARGE French Fireplace Mantel Surround with Mirror ~~Renaissance Revival~~HIGHLY CARVED WALNUT~~c. 1870s This HANDSOME statement piece will add charm and character to...

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...

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...

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...

A fabulous heavy pair of 19th Century beautifully patinated and finely cast iron garden urns of exceptional quality and large proportions. The urns of circular form with gorgeous eg...

Very heavy and large Mid 19th Century English Cast Iron Royal Coat of Arms Shield or Crest. Made from solid Cast Iron from the Walter MacFarlane & Co, Saracen Foundry Possil Park Gl...

Beautiful antique leaded stained glass reclaimed window panels. Features blues and ambers with a rose at the center. A fun set to hang in the light or reframe for use. Dimension...

A simple and striking late 19th century St Annes marble fireplace surround, a beveled top shelf rests above a central tapered keystone with a raised tablet of Belgian black marble, flanked by handed arch spandrels with intermittent Belgian black marble moulded...

***Reduced Delivery Rates - See Below or Click “Ask The Seller” to Request a Quote*** Pair Antique Painted Cast Iron Figural Fern Garden Chairs by Hart C1...

"Small Antique Cast Iron Fireback with Crest and Fleur-de-Lis – Elegant Fireplace Accent" Add a touch of French heritage and timeless elegance to your hearth with this small antique cast iron fireback featuring a striking crest and fleur-de-lis motif. The fleur-de-lis, a symbol of royalty and nobility, is beautifully incorporated into this fireback's design, representing a rich historical connection to French culture. This smaller-sized fireback is perfect for more intimate fireplaces, offering both functionality and decorative appeal without overwhelming the space. Expertly crafted from durable cast iron, this fireback serves as a protective shield for your fireplace while enhancing heat reflection to warm up your room. The intricate detailing of the crest and fleur-de-lis design adds an air of sophistication and history, making it a stunning accent piece in both traditional and contemporary interiors. Despite its compact size, the fireback’s exceptional craftsmanship ensures it makes a bold statement. It is in excellent condition, having withstood the test of time, and will continue to add charm and character to your fireplace for years to come. Key Features: Small antique cast iron fireback with crest and fleur-de-lis design Compact size, perfect for smaller fireplaces or decorative use Excellent condition, showcasing detailed craftsmanship and historical charm Protects the fireplace and improves heat reflection Ideal for French-inspired, traditional, or eclectic interiors This antique fireback is an ideal choice for those looking to add a refined touch of history to their home decor. Its combination of royal symbolism and practical design makes it a versatile and meaningful addition to any fireplace. Keywords: small antique fireback, cast iron fireback, crest and fleur-de-lis fireback, French fireplace decor, vintage fireback, antique fireplace accessory...

19th Century Italian carved marble Architectural Frieze Sculpture of Caesar, Of rectangular form the finely carved Carrera Marble 50" x 20" slab w...

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 majestic pair of antique architectural salvaged Chinese temple corbels, now mounted as one-of-a-kind wooden sculptures on custom floor standing display pedestal stands. Originally commissioned for an important religious temple in China, the impressive large scale wall bracket corbels were notoriously difficult as they had to serve as both highly decorative temple ornaments and structural building elements used to support the weight of a wall. Hand-crafted in the early 19th century, smilarly styled design, each exceptionally hand carved, sculpted, and painted by highly trained artisans. Profusely carved and decorated, featuring very fine quality high relief work throughout, extensive bas relief, pierced openwork, rich carvings and intricate incised detailing, depicting various Chinese folk religion figures and imagery. Rising on bespoke handmade stands, consistenting of sturdy rectangular shaped thick plank plinth base embellished with foliate carvings, held upright by turned column single support. Rich in culture and history, interesting, unusual, highly decorative, whimsical and artistic, sure to add sophisticated elegance, rustic character, color, space, texture and lots of visual interest. Dimensions, largest (approx): Each: 32.5" H, 19" W, 7.25" D. Please note, the objects were sourced and transported both legally and ethically, retaining partial original red wax export seal to top. Display the three Sanxing, in their iconic representation as three, old, bearded, wise men, which dates back to the Ming dynasty, when the Gods of the three stars were represented in human form for the first time. One panel having two monumental smiling figures with hand painted eyes and tongue, the other fragment depicting four figures, seated and standing, likely Immortals, Gods, Shen deity, and other characters from ancient Chinese mythology and folklore. Both pieces with elaborate lotus and pine tree motif, a powerful symbol of wisdom and longevity. Sanxing figures are an important part of Asian culture. Statues of these three Gods...

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