19th Century Building and Garden Elements

Thirty-two French Régence style (19th Century) oak paneled room with trophy carving. Approximately 50 running feet. Individual panel measurements: 29...

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...

Pair of French (19th Century) walnut library ladders with side railings and steps leading to a top platform (on casters) (attributed to Napoleon ...

Large Majolica cache pot in two parts decorated with orchids Fives Lille, circa 1890. H / 9.5 inches , D / 10.5 inches. Rare size.

A pair of lovely Ridgeway stoneware cachepots and stands with neoclassical decoration and three scenes in cartouche. The design is done in white rel...

19th century French Napoleon III Period fireback witha decorative fruit bowl. The fireback has a natural brown patina. Upon request it can be made black / pewter color with stove po...

This French cast iron garden table from the late 19th century expresses Beaux Arts tastes of the period in Neoclassical motifs decorating...

This captivating pair of Neoclassical cast iron garden urns from the 19th century exhibits all the elegance and grandeur of the period. Painted in a blue-grey, these urns feature iconic and timeless details–perfect for adding a touch of traditional sophistication to your interior or patio. The heavy iron construction is designed to weather the elements, proven by the time-worn patina adding character and charm to the exterior. Ideal for both decorative and functional use, these urns are a fantastic addition to any setting, offering a blend of history and cultivated style. Please view the detailed images. Sold as a pair...

This period Italian classical sink is cut from one single block of white marble, these designs have not changed since Greek and Roman times, it carries superb artistic merit easily f...

A very well crafted and intricately designed Arts and Crafts period Iron three panel Fire Screen. A large, accurate and beautifully crafted Spider sits in the center of his web agai...

Very decorative 19th century copper cheese pot , which makes a great log bin or garden planter French circa 1850’s Height 12 inches Width 27 inches Depth 25 inches

A large characterful 19th Century antique stone planter on pedestal, beautifully weathered appearance, with a weathered patina of moss and lichen that gives the piece an established,...

An authentic French brasserie table, circa 1890, with a white marble top on a black cast iron frame. This classic French cafe table has Neoclassical design elements that will bring a...

This pair of 19th-century finials features sculptural flame motifs cast in metal, likely zinc, known for its durability and weather resistance. Each flame form rises organically with...

New finds from the main hall of an Buddhist temple in Ibaraki pref., Japan *** We're eco-friendly, organic-oriented vintage wood furniture & fitting seller. Avoiding the harsh che...

Pair of English Gothic Revival style (19th Century) oak carved railing panels with open design and finial (PRICED AS Pair).

Pair of Asian (possibly Indian) (18/19th Century) blue & white distressed painted and carved Pair of doors in a frame with a separate pediment decorated with large brass nail heads &...

4 American Victorian stained and multicolored leaded glass window panels with 16 square pink & blue panels in wood frame (PRICED EACH)

Stunning Gothic architectural door with strong iron hardware in original frame. This striking and all hand carved door was originally probably part of a church or monastery and the ...

A French turn of the century (circa 1900) cast iron round bistro table with weathered patina matching what remains of the original terracotta-orange paint. The tabletop’s circular me...

A well balanced and pleasing 19th Century English cast iron fireplace insert with colourful tiles each side. A generous outer frame with a raised cast decorative border, a central ch...

A socalled 'ferrat' from Auvergne, France. Old copper container reinforced with a frame and adorned with copper bands with which the women went to fetch water. They wore it either on...

Bring a touch of timeless French elegance to your interior with this limestone fireplace mantel. Sourced from a historic French estate, this stunning piece embodies classic European ...

19th century French fireback with an unknown scene with a woman. The fireback has a brown patina. Upon request it can be made black / pewter colored with stove polish at no extra co...

Very decorative 19th century copper cheese making pot French circa 1850’s would make a great log bin / garden planter Height 15 inches Width 29 inches Depth 43 inches

Functional and beautiful 19th century French Napoleon III roasting jack made of cast iron, wrought iron, brass and copper. It is used for cooking in a kitchen fireplace. The set cons...

This classic pair of English rectangular planters are the perfect addition to your garden or sunny interior. Made of reconstituted stone with geometric trellis motif for a touch of s...

Pair of Victorian Pierced and Etched Brass Griffin Motif Gates from the late 19th Century, designed as openwork panels with swirls and griffins cut into the metal. Would be great rep...

19th century English Victorian fireplace basket or fire basket. The fireplace grate is made of wrought iron. The condition is good.    

19th century iron framed stained and leaded glass window with an architectural and landscape scene beneath an arch top.

Pair of French Louis XVI style (19/20th Cent) grey marble fluted column pedestals with square top.

The Lartington hall carved Boiserie panels by Signor Anton Leone Bulletti. A highly important suite of eight carved and patinated wood panels commi...

An antique English copper cooking pot, with an iron carrying handle for suspending over the fire, dating to circa 1850 or earlier. The exterior has a beautiful patina, darkening the ...

Add a touch of historic character to your home with this reclaimed 19th-century French door, salvaged from an old chateau in the French countryside. Featuring three panels, the door ...

Very rare zinc Bacchus head that once graced a Parisian facade, Original period piece, France, circa 1850-1900. Weathered.

Very pleased to offer this beautiful Dutch cabochon marble floor. This used to be the hallway a small castle near the border with Belgium, the floor dates back to approx. 1835. The ...

An impressive antique Victorian Neoclassical style leaded stained glass window. Features beautiful ribboned and scrolled motif with leaded, slag, swirl and pebble glass. Features c...

This pair of antique Victorian garden bench ends is a project piece brimming with potential. Crafted from cast iron and painted black, t...

Rare copper bathtub from a Comtal castle in Sauternes. Ergonomic model with a raised, inclined backrest. Originally mounted on four blocks which accommodated rollers at the base. ...

his reclaimed 19th-century French door, featuring two raised panels, brings a unique charm and character to any modern home. Installing it as an enclosure for a pantry or linen cupbo...

These large scale antique stone bases were originally used as bases for columns in Spanish Colonial Guatemala. These are the largest we have ever had in stock. In very good condition...

Bring historic charm into your home with this reclaimed 19th-century French door. Crafted from rich walnut, the door features a four-panel design, elegantly curved beveled trim on th...

Functional and beautiful 19th century French Napoleon III roasting jack made of cast iron, wrought iron, brass and copper. It is used for cooking in a kitchen fireplace. The set cons...

A Scottish 19th Century Victorian cast iron fireplace insert from the world renowned Carron of Falkirk foundry. A generous back plate with a high relief cast border, the movable dam...

An impressive Pair of stained glass windows of the highest quality, painted with grisaille and enamels on cathedral glass, circa 19th century. Representing two Renaissance Halberdier...

This is an antique set of library steps. An English, walnut and oak step storage stand, dating to the Regency period, circa 1820. Fascinating library or country house kitchen steps ...

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...

19th Century Spanish Neogothic hand-carved and polychromed wooden arch.

Very special 19th century Italian marble statue of Venus after Antonio Canova. Amazing artistry and detail. A true work of art!

Cast iron bench with rich decoration of chimeras and flowers, white lacquered, with 1 seat in wooden slats This bench bears the mark of the English foundry Coalbrookdale and is numb...

A substantial antique English copper pot, with two narrow handles at the rim, from circa 1850. The exterior has deep patina, shading the dents and dings to a chestnut brown, whereas ...

A French provincial unglazed olive oil jar from Biot, France circa 1780. This patinated jar has lots of character and patina consistent with its age. Perfect for styling as a sculptu...

Handsome Pair of 19th Century American or English Lions with Proud Paws.

A reclaimed French door with a raised 3-panel configuration and grooved molding detailing, perfect for incorporating into any modern home. The d...

A late 19th century Fan-shaped fire mantel fire screen. Also called a Peacock screen. Bronze base. It has nine pierced brass fans, these can fold out and in. Made in France, around 1...

These are a very decorative set of Three small ceramic wall tiles, with a Blue and White figural scene, dating to the later part of the 18th century or early in the 19th Century. Al...

Using old salvaged doors in new modern homes adds a distinctive touch of history and character. This one-of-a-kind reclaimed door, once serving as the entrance to the courtyard of a ...

Once enclosing a storage space, this old 2-panel door was reclaimed from a home in the French countryside. Featuring raised panels with grooved and beveled trim detailing, the lovely weathered “French blue” paint will infuse your home with provincial charm. Use to enclose a linen cupboard or pantry to instantly add a layer of unrivaled character that can’t be replicated with modern mass-produced doors. Salvaged in France, 19th century. The door is crafted from solid oak and is heavy. Both sides of the door featured the original “French blue” paint which has worn over the years showing a lovely patina. Original metal lock box...

19th century French Napoleon III fireplace basket made of cast iron. The basket is in a good condition and is fully functional.

A single reclaimed provincial cupboard door with carved details. Enclose a built-in cabinet with this charming door to feel as if you’ve been transported to the French countryside. ...

19th century fireplace screen. The firescreen is in good condition.

Stunning pair of late 19th Century French oak door frames. With curved glass panelled doors. Of great large scale and retaining their original pale blue paint.

French pair of carved-wood decorative wall panels from the 19th century. This antique pair of wall ornaments from France are each rectangular i...

Set of Four 19th Century Half-Columns in Red Verona Marble and Vincenza Stone Or sold by pair at 18 000€.

1244 A large hand made copper cauldron and iron handled pot with rolled and rat tailed iron handle set on an iron base. Excellent for storing wood for the fireplace or a planter. A ...

19th century German fireback with a horse. The fireback is made of cast iron and has a black The condition is good. It does not have cracks.

18th - 19th century French Neoclassical period fireback. The fireback is signed by its maker P. Martin C. The fireback is made of cast iron and has a natural brown patina. Upon requ...

This is a distinguished antique Georgian period well bucket, offering charming rustic appeal and versatile use, circa 1800. This estate-made antique boasts pleasingly naïve craftsmanship and a wonderful time-worn aesthetic. Former country estate well bucket, ideal as a decorative planter or fireside fuel store Presents a desirable aged patina and pleasingly rustic order Aged pine and elm stocks, displaying warm caramel hues and rich natural grain Pleasingly naïve craftsmanship, exuding traditional country house character Broad handle with a gracefully time-worn patina, enhancing its authentic charm Generous proportions, offering practicality and decorative presence Suitable for all fuel types, including logs, coal and kindling This is a superb antique well bucket...

A pair of reclaimed 2-panel cupboard doors having beveled trim details. Enclose a built-in cabinet with this charming pair of doors to add warmth and infuse your home with a touch of...

An impressive set of 8 large and substantial reclaimed cast iron garden campana urns sourced from the gardens of a Grade II listed estate in Hampshire. Dating from the Victorian per...

A Continental pair of antique white Carrara marble pedestals. Square base and socle with slightly bulbous tapered columns, terminating in square capitals. Good condition for age, goo...

Very large and exceedingly rare English Renaissance Revival fireplace mantel, circa 1860s. Made of hand carved walnut featuring a gothic cathedral design. The fireplace portion is ...

Bring a touch of Scandinavian classical architecture into your home with this impressive vintage Column Pedestal. Certainly makes a wonderful addition to any home seeking a display p...