Revival Building and Garden Elements

A wonderful pair of cast, reconstituted stone planters from 19th century England. Classical in shape, resembling those of Greco-Roman antiquity, they are a smart addition to any pati...

Belgium / 1850 / panel / oak / Neo-Gothic / Antique Highly decorative 19th century Flemish panel with hand carved Neo-Gothic decorations in oak. The panel consist of four rectangle ...

Set of six Sherle Wagner ribbon and reed cabinet drawer pulls in brass/bronze gold finish. Like new condition. Price is for the set of six. Sherle...

Classic fabulous indoor outdoor patio set in cast aluminum by Molla of Italy. Impeccable castings in aluminum and then powder coated. Ball and claw fo...

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...

An Italian white ceramic urn vase or cachepot planter in the Egyptian Revival style, circa late-20th century, Italy. A white urn vase or cachepot (flowe...

OUTSTANDING Antique French Pedestal, Plant Stand or Display Table~~49.5" Tall~~c. 1880s TALL French HIGHLY CARVED pedestal, plant stand, o...

Antique French Renaissance Revival walnut mantel, circa 1880.

Sumptuous and majestic castle fireplace in solid walnut in Renaissance style richly carved with acanthus leaves with in the center the emblem of Francis I, a fire-spitting salamander...

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 very fine and large English 19th century Empire style gilt and patinated bronze and steel figural fireplace fender - chenet. The beautifully designed fender flanked on each end by resting Bull...

Unique stylized heavy wrought iron black garden bench or settee with ovals and scroll work, in the neoclassical style with Italian influence of Gio Ponti style gold Arrows and concentric circles. Solid wrought iron seat...

Pair of 19th Century Terra Cotta Winged Lions. Well articulated, impressive pair of terra cotta winged lions, in seated position and holding heraldic shields between their front paws...

Can you imagine these firebucks in your fireplace with the flames burning on all sides? These beautifully and all handcrafted wrought iron, andirons were made to stand in your firep...

This impressive pedestal showcases a captivating blend of Renaissance and classical motifs. Crafted from bronze, the central column showcases intricate figures and foliage, adding de...

2 English Gothic Revival style (19th Century) oak paneled railings. one 85" long & one 75" long (PRICED EACH).

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

This is a beautiful and historically rich marble fireplace mantel. From its 19th-century origins and being reclaimed from an Antwerp merchant house, it holds a story of elegance and ...

18th century Italian fireplace screen in elaborately carved giltwood, with a fine needlepoint insert.

These stunning display brackets or consoles are unique in size and design. We have sold our share of wall brackets over the years, but this recently ...

A pair of vintage concrete planters or urn with Greek key and grape motif decoration. Wonderful patina throughout.

Pair of antique wood carved Gothic Revival architectural Columns Anonymous 19th century; Belgium or Netherlands Wood Approximate size: 41.75 (h) x 11.75 (w) x 11.75 (d) in. An exceptional pair of tall and intricate hand carved vintage wooden 19th century church columns...

This authentic 19th-century Rococo-style wooden fireplace surround is a masterpiece of French artistry and craftsmanship. Hand-carved from solid wood, the piece showcases the fluid e...

Wonderful small architectural fragment. White marble finial in Gothic style. France circa 1850. weathered. Measurements include the wooden base.

A large and highly carved antique oak fireplace surround, made in the Jacobean style. Produced in England during the 19th century incorp...

A fine pair of 19th century architectural columns or pillars. Made from pine having beautifully turned square classic bases and tops. Bases and tops come off; height can be adjusted....

Rare and exceptional handmade pair of bronze jardinière's over marble black marble stands for Maitland Smith, circa last quarter 20th century. Features a bronze Neo Grec / French Emp...

This remarkable pair of Italian mid-18th-century wrought iron andirons beautifully exemplifies the craftsmanship of the period. Featuring elegantly fluted shafts, they are topped wit...

Fabulous and in amazing restored condition. Black lacquer finish with Gilt in the carved areas remains in top condition. Aristocratic family representativ...

Mid-20th Century Italian vintage large marble tazza/ bowl. High quality of the hand execution of the turning with double lip, and decoration of the “baccelli”: hand-carved cloves on ...

Italian wrought iron Dragon Andirons, 1920s Beautiful Hand Craftmanship.

Exceptional 19th century set of wrought iron and cast bronze fireplace tools, with dragon, griffin handles. The set features inscribed line drawn decorative surfaces, with twisted an...

Fabulous 3 piece set of Cast Iron garden seating with table. A bench a chair and a converted bench minus it's back that can be used as a table. All three in outstanding antique condition with no visible damage or missing pieces. Very ornate with a grape leaf and vine pattern. Not a repro, these are the real...

20th century limed terracotta statue "Ragazza che protegge il suo cucciolo dal serpente" Girl Protecting Her Puppy From a Snake after Odoardo Fantacchiotti (1809-1877), supported by a square-form limed terracotta pedestal. This work evokes a great deal of tenderness from the viewer. The girl, dressed in drapery that seems to want to slip off her body at any moment, holds in her arms a frightened puppy seeking protection. The young girl's melancholy gaze and the little dog's frightened gaze are turned towards the snake which, at the height of her feet, raises its threatening head. Pedestal 30...

This pair of antique tiles are signed by the American Encaustic tile company of New York and date to approximately 1880 and done in a Renaissan...

Gothic Style Free Standing Fire Basket with Decorative Back This is a useful and decorative piece, it has an arched fire back decorated with a fighting scene, the body of the grat...

Pair of French 19th-20th century baroque style patinated bronze figural chenets (Andirons). Each chenet topped with a cherub standing on a stand flanked by styrs and royal goat-heads...

Pair of Maitland Smith bronze figures holding baskets of flowers. Very nice patina… Proximately 42 inches tall and 12 inches wide at the base.

A good monumental antique cast metal garden urn on pedestal circa 1930. The urn and pedestal are in two sections with a circular urn of monumental size standing on a square plinth, t...

An outstanding pair of andirons in the early Neo-Gothic manner of A W N Pugin. The bronze octagonal uprights have a hammered texture and are set between superb wrought-iron repousse ...

Awesome large-scale antique Italian bronze Vecchio Greenman door knocker. With a resonant knock worthy of the great hall of any castle, this trul...

Antique Rococo Style Italian Majolica Glazed Terra Cotta Stove This 19th Century Italian Majolica glazed terra cotta stove exemplifies the artistry of handcrafted ceramics. Featurin...

A beautiful figured bronze urn or planter. Features a traditional Grecian form with a lobed body and round fluted base. Decorated with a low relief depiction of Zeus flanking opposit...

Hand-crafted and highly decorative, Renaissance Revival copper planter. If you collect decorative antiques with angels and putti in particular then this hand-crafted home accessory ...

This monumental fireplace was made in Belgian Petit Granit in the second half of the 19th century inspired by the Flemish Renaissance art answering the revival vogue of this period. ...

Monumental figures fireplace Neo-Renaissance 19th century walnut -hight 111 inch. Solid walnut body flanked by a fully plastic male figures / atla...

Imagine these in your fireplace with the flames burning on all sides. These beautifully and all handcrafted, large and fire-gilt bronze andirons are made to stand in your fireplace ...

Pulpit in oak with double flight of stairs richly carved with monsters.

An outstanding antique Sheraton revival wooden fireplace with original hand painted Dolton Lambeth panels and copper insert. Constructed using the finest figured dark wood with satin...

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

Monumental carved walnut fireplace with atlantes and painted medallion Imposing ceremonial fireplace in solid walnut, richly carved in a Neo-Renaissance style. It features two full-r...

A Fine French Empire Revival Style Late 19th/Early 20th Century Mahogany and Gilt-Bronze Mounted Planter or Jardiniere. This elegant circular planter features a mahogany structure ad...

A French 19th Century Cast Iron and Metal Fireplace Mantel Wood/Coal Register Insert Grate. Circa: 1870-1880 Height: 35 7/8 inches (91.1 cm) Width: 36 inches (91.5 cm) Depth: 14 inc...

Fabulous pair of lightweight cast aluminum lounge chairs with full embossed cushions by Molla of Italy. circa 1970 This set lived inside it's entirety....

Pair of antique Neo-Gothic style oak church altars.

A magnificent antique, circa 1880, Italian Renaissance Revival style jardinière with warm, rustic beautifully aged patina! (plant stand - indoor planter - conservatory or solarium garden box - flower display) Born in Italy in the late 19th century, most likely originating in the Veneto region of Northern Italy (Venetian), exquisitely hand-crafted in medieval Italian Renaissance style / Henry II taste, having a removable metal interior liner with handles, resting in the well-made rectangular case with stepped molded edge, over paneled frieze adorned in intricate hand carved plaquette and foliate scrolled rinceaux relief ornamentation, rising on urn-form turned column supports, atop large platform shelf base with conforming stepped molded edge further raised on bun feet with primitive inset casters. Dimensions: (approx) 22" High, 40" Wide, 17.5" Deep A wonderful example of functional art. In good original antique condition, it's srong, sturdy and structurally sound with rich patina over the whole. Substantial wear consistent with age and indicative of use. Nothing that detracts from the aesthetics or functionality but only adds to the sophisticated character, European old world charm, elegant warmth and rich historical depth that can only be acquired over long periods of time. Presents well, retaining original antique character marks throughout. Distressed, worn, faded finish, with evidence of old water damages, age related splitting in the form of crack to one decorative panel, and scattered minor losses. Partial seized casters. Heavily oxidized patinated metal basin...

Door handle. Wrought iron Twentieth century. Handle with latch made of wrought iron and inspired by common examples in Spain during the Baroque (17th century). The handle piece (w...

Pair of Italian Renaissance-style (19th Century) bronze andirons with a classical figure holding urn with flame above his head all supported on a double griffin base (PRICED AS Pair)

OUTSTANDING Antique French Pedestal, Plant Stand, or Display Table with Marble Top~~48" Tall~~c. 1880s TALL French HIGHLY CARVED pedesta...

A rare pair of early Gothic Revival cast iron garden bench ends designed by A.W.N. Pugin with foliage details which is slightly obscured at the moment due...