Revival Building and Garden Elements

Early 20th Century Tall French Empire Brass and Iron Andirons, Pair. Measure 12" in width, 20" in depth and stand 32" tall.       

A pair of cherubs stood on plinths, these heavy jardinieres are in a good condition. They have beautiful detail and are classical designed garden ornaments. One cherub is holding gra...

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...

A rare find We purchased this monumental architecture item as Tiffany but later on was told that The leaded art glass window was done by John Lafarge Studios We’ve had it for many years and was used as a back drop for a Cigar bar … very impressive in person because of its monumental size. It is a grand example of the. Great American golden Gilded Age. All original from a very prestigious mansion connected with General Motors In the Detroit area...

Neoclassical Urn Jar Albaster Table Lamps with Fish Handles, Pair Two Spanish Neoclassical Albaster Urn Jar Table Lamps, 1930s-1940s These unique Urn table lamps feature Jar design, ...

Rare pair of oak newel post cappings or finials Elegant and finely turned ball supported cup sweeping into deep moulded base Made from high quality oak ...

Beautiful hand painted wooden tiles with checkerboard pattern, 14 tiles in total, 2 red, 6 black and 6 gold. Great as a wall installation or a small space paneling, made in Italy.

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. ...

Pr.unusual half column pedestals, in faux tortoise shell finish, with marble tops. The columns open to reveal storage with an interior shelf. Both are structurally sound and sturdy, ...

Fabulous period of Gothic revival brass fireplace fender with dragon serpents and finials. Great for the seaside home where it most likely sat for decad...

19th Century Cast Bronze Decorative Masonry Plaque was designed to be inset with a masonry wall, surround or framework to add a timeless decorative touch. Depicting a Greco-Romanesque urn bursting with flowers, it was cast from solid bronze, it is a great choice for a kitchen backsplash...

Monumental figures fireplace Neo-Renaissance 19th century walnut -hight 111 inch. Solid walnut body flanked by a fully plastic male figures / atlases in the finest carving. Finely...

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...

19th century hand-carved French neoclassical address plaque can easily be "renumbered" for use as was its original intention, or leave it as is for a fa...

This exceptional Neo-Renaissance style fireplace comes from the Péclavé castle in the town of Samazan in the Aquitaine region. The castle b...

Stunning Pair of French Louis XV Style Ormolu Chenets, Each finely modeled in the form of acanthus leaf sprays.

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...

A Gothic Revival cast iron gate with both side railings in the style of Dr C Dresser with all-over Geometric decoration. Retaining the oak hand rails and the original pair of wall si...

A rare silvered hand-carved wood tripod, used as a centerpiece or a fruit bowl.

Carved Alabaster Floor Lamp. Outstanding Neoclassical carved alabaster urn lamp with handles on column pedestal stand, Spain, 1930s-1940s T...

Fabulous clothed torso of a fair maiden from the victorian era Two pieces, has a plinth base which is separate from the figure. Well worn as it has lived it's life in a garden. Str...

This large Neo-Gothic style stained glass window represents a great hunting scene with two men on their horses, hunting deers. Both men, wealthy squires, wear medieval costumes, as e...

This stylish and classical balustrade form marble pedestal dates to the 1930s. Note: The piece is fabricated in three sections (see photos).

A beautifully-made pair of brass English andirons, with gadrooned urns surmounted by flame-topped finials. The substantial base supports with scrolled fo...

A very good quality pair of late 19th century mahogany veneered classical tapering pedestals to support sculpture. Each with wonderful gilded ormolu mounts...

Rare, antique and working fireplace bellow with angelic musicians. This one of a kind antique bellow is all hand-crafted in the first half of the 19th century and made of natural ...

Gothic Revival Style Antique Wooden Double Leaf Door from Spain. Hand carved decorations in gothic revival style with Iron door handles in Seahorse sh...

Cast iron , brass and steel with two front legs with brass finials and satyr masks. Polished and cleaned. Heavy.

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...

Heavy Garden Urn Ram’s Head Planter Beautifull Garden Urn decorated with Ram’s heads, one at each side The Urn is in good Condition and this one i...

Beautiful Neoclassical chimney mantelpiece carved in Portor marble. The fluted lintel is decorated with a central rectangular cartouche in red marble and ends with a red marble pyramid...

19th Century Glazed Blue & White Pottery by Ulisse Cantagalli, circa 1885 An exceptional antique glazed blue and white pottery fireplace by Ulisse C...

19th century black marble fireplace, circa 1860 An exceptional antique highly carved pure black marble fireplace dating to the 1860’s. The jambs with scrolled acanthus consoles...

19th - 20th century French Neo-gothic fireplace basket - fire basket made of wrought iron and cast iron. The basket is in a good condition and is fully functional.

Spectacular pair of English cast iron garden benches having a "serpent and grape" pattern by Coalbrookdale Foundry. The benches have a rare iron slatted seat and backrest. The end supports feature a snake curled around the legs eating a grape cluster. The gracefully curved arms end with dogs head terminals. The patinated iron has a painted finish. Excellent joinery and craftsmanship from a historic foundry. Also known as "dog and serpent...

A decorative pair of Victorian torchère stands in cast iron. Good form with layers of old paint, these would have been used in an internal room setting rather than garden hence their...

Rare hand carved stone Wellhead cistern Basin Antique Fountain Focal point LA CA. 19th Century Neogothic Water Wellhead hand carved stone planter Basin ...

Arts and crafts oak Purdonium, coal or log box This is a great design, the front of the Purdonium pulls down giving access to the log or coal storage, the top has a small gallery ...

Beautiful set of fireplace andirons, dating from the end of the 19th century. They are made of bronze, cold gilded, in Renaissance style with lavish decorations. The size is adjustab...

Carved red marble throne with two sphinxes. Two mythological figures with the body of a lion and a female bust decorate the arms of the throne. Above ...

Pair mid-19th century French Renaissance carved architectural decorations are a marvel of the sculptor's art! The intricate naturalistic form features bold scrollwork, grapevines, burgeoning flowers and glorious acanthus leaves in multiple forms. Mount them on the wall for an interesting visual effect, or use in the upper corners of a cased opening for decorative corbels...

A very decorative cast aluminium garden armchair with lovely flaky paint and weathered to perfection. The is a heavy cast frame, very well made and dates to circa 1940s when cast al...

This large cast and cold-painted planter or centerpiece is unsigned, but presumed to have originated from Italy and dating to approximately 1965 and done in a Neoclassical Revival st...

Maitland Smith Dark Bronze pair of Urns These urns are part of a two piece set of cast dark bronze metal, trophy urn with side handles, measuring 13" height x 10" width x 6.38" squared plinth base. The neoclassical design of scalloped turned edge overflowing cup, paired with two side handles of turned carvings, foliage and vine, berries. The body repeat pattern of scrolled foliage spaded with floral centers inspired by gothic olive leaves crown the mid section, over trumpeted art...

Folding wrought iron fire guard for inglenook fireplace. This is a long Fireguard, it would suit a traditional Inglenook fireplace or any large fire...

Expoxi finished Indoor and outdoor.

Polished gold-clad bronze and red Jasper S10 handle / knob Poignées by Serdaneli Paris, Prestige collection. Gorgeous, substantial piece. For over 45 years, Serdaneli, the "haute couture" of bathroom...

Stunning pair of carved limestone pedestals in the form of classical fluted columns with Ionic capitols. Both are in very good, original condi...

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...

Each with green and cream colored marble. Square tops with tapered column with applied panels, plinth base.

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 ...

A pair of large empire-style fireplace andirons, in gilded brass, they are formed by long columns that rest on a base with a mythological scene, the central column ends in an imitati...

This stylish and chic Italian pedestal will make a definite statement with its form and use of materials. The piece is fabricated in onyx and brass mounts, and it dates to the 188...

Pair ornate wrought iron dining chairs, with original vinyl seats. Both are in very fine, ready to use condition, retaining Lee Woodard labels. Offered and priced as a pair.

The pedestals made from a stone common in the Borghese Museum in Rome. Base stone appears to be a green porphyry. The pedestals possibly from a fireplace and carved representing lion...

Antique Louis Xv pompadour fireplace surround, circa 1870 Measures: External width 53? – 134.6 cm External height 43” – 109.2 cm Depth 15? – 38...

Large cast iron urn, garden planter This is a superb large garden urn on a plinth, the urn is in cast iron with a classical flower pattern and i...

Cast with cherubs and acanthus. Wrought iron legs.