19th Century Building and Garden Elements

Unique and top quality carved stair newel post from the 1800s. If you are looking to upgrade the style and quality of your home interior then this fabulou...

A most impressive 19th century French gilt bronze three-piece fireplace set. France, circa 1870, almost certainly Parisian work, exceptionally executed in Renaissance Revival taste,...

Its a pleasure to offer this wonderful French fireplace in beautiful Italian Breche (Breccia) marble. This early 19th century transitional (XIV - XV) mantel shows a great variety of ...

A very fine original set of early English Victorian polished steel and brass fireplace fire tools of outstanding workmanship and compact proportions. Mid nineteenth century. Circa 18...

A colourful and beautifully detailed antique Victorian stained glass window, one of four similar in design we are selling. This stunning window pairs intricate foliage patterns with ...

19th Century Antique Sarrancolin Marble Fireplace Mantel Experience the timeless elegance of this 19th-century French fireplace mantel, expertly crafted from rare Sarrancolin marble...

Incredibly cool 19th century solar powered signal canon marble sun dial base. This signal cannon can be set to ignite with the sun through the attached magnifying glass- which can be...

Set of American brass fire tools on stand with urn finial tops resting on squared decorative hand chased base. Set consist of shovel, tong, and poker. Late 19th Century.

A large scale and wonderfully decorative Italian 19th century Grand Tour Period patinated Bronze, Black Belgian marble and Ormolu Vendôme Column. This impressive Bronze statue is rai...

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

A single Turkish decoratively carved wooden door from the 19th century. This antique door from Turkey has a rustically decorated front side which has been ornately adorn in a carved geometric design, with a larger and two smaller panels that have hand-carved embellishments in moon and star motifs. The door is shorter than a standard door height, as it is just over 6 feet tall. The wood has a lovely old patina, with areas of wood loss and wear, which beautifully showcases its rich history and prior use. As with any of our antique doors, we strongly advise that you consult with your contractor or architect to discuss the necessary measurements and hardware to make this piece work for your project. This 19th century Turkish carved-wood door would be a great option for a custom cabinet or pantry door...

Big, Beautiful And Signed From our recent Japanese Acquisitions An early and hard to find Japanese hand carved stone Kanon in a mudra of contemplation. Nyoirin Kannon Bosatsu is b...

Very unique antique cast brass Italian/French Gothic cast brass door knocker. Great design and form featuring two cherubs and a grotesque gargoyle. ...

The product is a pair of 19th Century Carrara Marble Busts featuring depictions of Apollo and Diana displayed on pedestals. These sculptures are presented in a Bust format, showcasin...

Fabulous, rich in color, Royal Brêche Violet Marble chimney piece. It is a exceptional Regency style, 19th century. Unique historic fireplace mantel for a signature interior. This or...

Beautiful and surprising 19th century French Louis XV Rococo style fireplace mantel in white marble. The perfect dimensions and decorations truly make this mantel stand out. Lo...

An impressive, antique Regency chimneypiece carved from fine Statuary Marble. Delicately carved details are seen throughout. A deep profile urn with overflowing florals adorns the...

These 19th-century French cast iron garden urns are a classic with scrolled side handles and a flared lip over a bulbous footed circular base. Recently sandblasted and professionally...

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...

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

A large mid 19th century Japanese Meiji Zoomorphic Champleve Enameled Bronze Jardiniere, Circa 1870s. Measures 14" in width, 14" in depth and stands 11" tall.

Antique French bathtub in copper. Today it can be used like before as a bathtub, but it also can be used as a planter, a jardinière or, why not ...

English cast bronze fire place fender with decorative scrolled acanthus motif, upper flanking griffons with lower centered wind god flanked by finial urns, pierced bulbous floral gal...

Pair 19th century Exterior French doors with wrought iron will make the perfect choice to make an entryway unique, or to just hang on the wall as...

A fine quality brass and copper coal hod. Classical design, English, late 19th century. Original lift-out handled liner. Associated shovel. The repouss...

Decorative original antique door. The side of the door that was originally visible to the outside, is made of solid oak and the other side of th...

Pair Hand Carved Antique Stone Pyramid Garden Post Gate Entrance Finials Pyramid . Great patina with Fantastic simple geometric lines . Architectural elements garden ornament to complement your home . Use as finials on top of your house gates pillars...

This monumental window frame once graced the upper story of a French apartment building, probably part of a dormer. The style is classical, with a s...

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 stunning quality 19th century fully restored polished brass fire screen. The wire mesh of concave form with a beautifully cast frame with finials in the form of grapes and an elega...

Antique Chinese Well Bucket featuring hand forged wrought iron and fruitwood. Of large scale seated on a custom wood stand. Can be used as a plante...

A handsome large English spoked cart or wagon wheel (54 inches diameter) of iron from the late 19th century, with 18 spokes around the wheel hub. A nice feature for a garden or pa...

19th century French Louis XIV style andirons made of polished brass and wrought iron. The condition is good. The andirons are fit for use in the fireplace.

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...

An Aesthetic Movement Victorian cast iron garden table by G Hufton of Birmingham with stylised floral and zig-zag details throughout, an arched stretcher uniting the side uprights st...

Very heavy American cast iron mid-19th century Rococo and neoclassical garden chairs. Original version Lyre-back splat with cabriole legs and foliate scrolls. Unmarked, but most likely cast by the Robert Wood foundry...

A large antique unusual Gothic arched oak exterior door, reclaimed from St Edith's church, Eaton Under Heywood. At over 170 years old, this exceptional door has kept its good qualit...

Hand Carved Stone Container Jardinière Trough Basin Planter Antique Farm Sink LA . 19th Century water fountain Basin Of Hand Carved Stone container . this t...

Wonderful 19th Century French garden table. Features two scroll framed supports in original green paint that support the marble top which has the most amazing patina. This super tab...

19th century cast iron & brass fireplace basket grate. French Styled original victorian free standing fire basket & grate. This Typical Frenc...

A large, Neoclassical cast iron garden urn from the 19th century, exhibiting all the elegance and grandeur of the period. Painted in a deep green, the urn features iconic and timeles...

Majolica white swan jardinière Delphin Massier Vallauris, circa 1890.

Beautiful and rare decorative zinc item that once graced a facade, France, circa 1850-1900 Weathered and small losses and old repair Measurement here below includes the wooden base. ...

Very nice Swan jardiniere . Capodimonte Ceramic italy . normal wear and tear . Beautiful piece . signed .

19th Century French Cast Iron Wall sink. with German signage in excellent as found condition.

An exquisite 19th-century mantel from France, hand-carved from fine Carrara marble, celebrated for its luminous white surface and elegant grey veining. This antique piece showcases t...

A rare stoneware figure of Erin, the female personification of Ireland, the partially-draped figure playing a small harp and standing alongside a tree trunk encircled with roses and ...

Demeter, the goddess of the crops and harvest, and Zeus, the king of the gods, had a daughter, Persephone. One day while Persephone was gathering wild flowers she was abducted by Had...

Remarkable large bronze sculpture of soldier with saber on horseback. Note the scale of this sculpture is approximately 8' tall x 8' wide. Typical signs of wear from being out in e...

Large French double door from the late 19th century. Made of solid pine wood in the original paint. Doors made in frame construction with 4 cassettes each. Very beautiful origi...

Antique Wooden Wabi Sabi Planter from Scandinavia, circa 1800s. This beautiful piece makes a perfect planter for bigger plants or tree or just a deco...

An elegant and good quality English 19th century regency style fire grate in polished cast iron. The lion heads finials with brass rings in the mouths surmount a curved reeded front ...

A most stunning Sienna marble chimneypiece in the Rococo Revival style. A large shell cartouche is flanked by scrolled foliage on raised and fielded panels. The angled cabriole jamb...

Antique Classical Verdigris Bronze Cherub Fountain Figure 19thC (19 3/4 h x 10 3/4w x 10 1/4 d). A 19th-century Verdigris bronze fountain figure depicting a cherub. This classic...

A fine patinated bronze scalloped base bronze jardiniere with lions head ring handles on each side, supported by three paw feet. Continental, dating to the 19th century, in very good...

A very nice antique limestone fireplace from France for sale. The dimensions make this a very versatile and usable piece, its decoration ...

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

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

Carved stone water filter from the frontier region of Argentina.

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...