Hand-Crafted Building and Garden Elements

Large hand-cast vessel for indoor and outdoor use. Drainage holes can be added. At the intersection of art, craft, and design, Concrete Poetics' debut collection of hand-cast ceme...

A large 19th century Spanish terracotta olive jar with orange yellow and green glaze at the rim dripping down the sides. Heavy oil residue has blacken...

The iota outdoor swing is inspired by climbing plants and branches in the summer, when the weather is dry. The colors are inspired by a Scandinavian pallet, dunes and naked trees. Th...

Fabulous iron hoop chair designed by Maurizio Tempestini for Salterini c1955. In very good condition needing a spray job. New plastic feet glides. Poss...

Fabulous pair ( priced and sold separately) of indoor outdoor patio settees by Molla. Cast Aluminum frames with embossed pattern cushions. Ball and ...

18th C. Pair Hand Carved Wood Statues Wall mount Sculpture Regal Big Cats Lions .Exceptionally detailed high quality Large pair of Wall Art lions , outst...

A late roman, Byzantine, frieze fragment. Border fragment with carved ledge and D-section rim with carved running guilloche motifs in high relief. Beautiful example of the elegant mi...

Pair of Chinese porcelain painted and glazed foliage garden seats with decorative flanking dragons & exotic birds, upper & lower bead work, and decorative circular cut out fret works...

American Empire serpentine fire place fender with brass acorn finials, brass rail top, and pleasing scrolled artistic wire work. New York, Early 19th Century.     

Large pair patinated life size bronze statues sculpture of Regal Big Cats Lions. Exceptional detailed high quality Large pair of Patinated bronze statues of...

Tolix Set of (4) French made steel stacking armchairs with unusual slatted seats that have been clear powder-coated. Please not the brown treading that is visible under the powder-co...

A spectacular 19th C Aviary in the form of a grand Chateau, 57" high x 54" x 40". It is very unique in that it consists of four separate cages within one large Aviary...

Sherle Wagner International is still manufactured in their Massachusetts factory staffed by highly skilled artisans dedicated to preserving old world craftsmanship. Sherle Wagner has been producing the highest quality bathroom sinks and lever sets for 80-years. We are offering another example of one of their classic designs, the Empire Onyx Lever set complimented by a Gold Glazed Scalloped Ceramic Over Edge Sink, mounted on a Stone travertine Vanity top. Vitreous China, Integral overflow drain, 1-3/4˝ discharge drain, 6˝ water depth. Onyx Bathroom Sink Handles with Ribbon and Reed Spout model number 818. Nothing makes a statement quite like a powder room adorned with a Sherle Wagner Sink...

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

White Carrara marble wall fountain with projecting lion face. ▪ Made in Italy dimensions 51 h x 43 x 24 cm weight 26 kg italian manufacturing certified by the Lazio region The sculp...

Sizeable and museum quality, embossed copper with brass handles bucket on feet. This stunning, sturdy and heavy antique and hand-crafted buc...

Distinctive pair of wrought iron dining armchairs with matching ottoman made in the neoclassical style and manner of Rose Tarlow or Gregorius Pineo. Hand-crafted by a foundry in Los Angeles, CA with geometric lattice inset seat and back. The thick frame has a faux-bois twig motif with a humped crest on the back and a bowed seat front. The whimsical legs gracefully curve conjoined by stretchers with ribbon bows. The finish has the classic aged patina. From an estate in Hollywood, CA. The ottoman measures 27 by 27 inches wide...

The Exo Series first premiered at Design Miami 2021, with a series of bronze adorned tables from James' fascination with growth patterns in oceanic microorganisms. New to the series ...

Moroccan traditional caidale tent are used outdoor for ceremonial events, wedding, parties. For centuries the tribal people of Morocco's Atlas Mountains ...

Vintage Moroccan cast polished brass hand crafted faucet. Brass water tap engraved water spigot Moroccan water faucet. Moroccan brass faucet with back rosette and spout embellished and hand engraved incised with Moorish design. Elaborate rosette and detailing Moroccan brass fountain faucet, tap, indoor or outdoor use. Engraved, handcrafted, and hand made of polished cast brass, the Moroccan faucets are beautifully ornate, engraved. These ornamental fountain spout are hand made in Fez and Marrakesh, Morocco, North Africa. Solid brass fountain spigot...

Charming dog with a lovely, aged patina. This sculpture could be used indoors or out. We see him sitting in a foyer or in an outdoor garden area as a door stop as he is very sturdy. ...

Stylish pair of Hollywood Regency wrought iron curule benches made in the neoclassical taste. Featuring an X-form design with scrolled arms a...

Italian designed Mario Papperzini for John Salterini Patio Lattice cocktail table. The table is finished in a new black (and rust f...

Pair of mid 20th century woven plant stands circa 1950. Good quality pair of swedish made woven cane plant stands. Made using traditional techniques of weaving between wooden pegs ...

Hand Forged Metal & Wood Garden Bench Rustic Seat Furniture Antiques Dealer LA. Large 19th century Art Nouveau hand forged metal and wood slats ga...

A lovely pair of early 18th century French cast iron urns with nice old weathered paint. These will look good indoors as well as in the garden.

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

Two adorable stone petite stone pigs to grace your garden, doorstep or farm. Curly tails, quizzical ears, small size so perfect for decorating and not too heavy to move. Age approp...

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...

Very large 19th century French jardinière is in two separate sections, a round shaped base and a carved basin at the top with center draining hole. Great...

20th Century Aztec style hand-formed ceramic pottery.

Fabulous patio dining table with mesh top outfitted with a fitting for an umbrella. Hand made in the fifties with galvanized iron. Recently enameled in satin black. Very sturdy.

Cast stone garden basket from the mid-19th century overflowing with a bouquet of carved fruit and flowers. This basket has great depth in the details and a beautiful, aged patina. Pe...

The perfect piece to add color and personality to a patio, garden or pool area, this chair of the Locus Solus collection merges functional design with a unique aesthetic. Originally ...

Japanese Large 25" Tall Patinated Bronze Temple Bell With A Resonating Sound Guaranteed to Please You The inscribed donor's Kanji script makes this bell special. For your meditat...

A very good sized pair of hand made Anduze pottery planters from the South of France, small losses to the rim of one of the pots. A great looking pair of very desirable planters. ...

Great quality, forged in fire, castle design candle chandelier / pendant light. This finer quality and all hand-forged, eight-light chandelier comes with some really beautiful detai...

Charming set of 2 small French style Anduze glazed terracotta garden pots in green and blue. Perfect for a plants or a small topiary. Wonderful addition to any French Provincial coll...

A commanding pair of hand forged wrought iron garden obelisk. Cylindrical in form with with the top having a curved outline with a ball finial. This pair was salvaged from the rose...

This bronze pull handle is a poetic fusion of art and nature, drawing inspiration from the timeless elegance of Italian masterpieces and the enchanting landscapes of Cyprus. Origin...

White hand-cast bowl for indoor and outdoor use. At the intersection of art, craft, and design, Concrete Poetics' debut collection of hand-cast cement sculptural furniture and acc...

A pair of handcrafted wrought iron armchairs designed by Cleo Baldon and produced at her studio/work shop Terra in the 1960s. The chairs and their cushions are in excellent conditio...

Large Italian giltwood bed canopy, or corona (also known in France as a ciel de lit), circa 1760-1780. Hand carved giltwood with painted detail decoration. ...

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

A 19th Century Louis XV style walnut door from the Loire Valley. This two sided interior door is made of thick planks of solid walnut with hand carved scroll decoration typical of th...

This is a very unique custom made fountain mask by Lalique. "Masque de Femme", originally modeled by René Lalique for the Coutard fountain in 1935, has been realized here for insert...

Fabulous and Grand pair of andirons in the style of Samuel Yellin. Large 3 pc set 41 wide by 35 high by 30 deep. There is something magical about this set. So much fantastic work on all three pieces. Hearts galore with open scrollwork and spiral twisted tops...

Pair of ball armchairs created by designer Willy Guhl. Sculptural armchairs, organic design reminiscent of a mushroom. Ideal for a garden or around a ...

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

The Material: Our products use taut, clean, and highly tenacious rope made of 100% polyester. What makes this material special is because the characteristic of polyester that is extr...

Fabulous and rare set of six orange slice chairs. Freshly painted in a satin white enamel, chairs are in excellent vintage condition. Exceptional design by Maurizio Tempestini for Jo...

Pair of American bronze and brass ball top andirons with hand chased beading, bossing, foliage, and flanking flame finials. The andirons have a stylized centered scrolled foliage urn...

Terracotta Sussex crock planter used for storing eggs, circa 1900

Beautiful Hand forged knot fireplace tool set on stand. Spain, 1950s-1960s The set includes five hand forged iron tools : a shovel, a log poker, broom, and two tongs. The rack stands up on a tripod base with scrolled ended feet and a knot detail on the top. All the tools have nice twisting details and are placed on the stand hanging...

Large Hand Carved Stone Sink Basin Wall Fountain Bowl & pedestal base Antique CA . A beautiful 18th Century Hand Carved Stone Sink / Wall mount fountain basin . versatile sculpted architectural element for an outdoor Garden or indoor setting. Very Large half moon water basin finely carved in a shell shape sitting on top of a pedestal base . A Statement piece at the front of your home , set in a niche or hedges or simply mount against a garden wall , this water feature will add a touch of elegance and history to your residence . Antique dealer Los Angeles West Hollywood Melrose Ave La Cienega Blvd. Architectural decorative garden elements . Could be used as a sink in a powder room bathroom or in combination with any other fountain head or spout . ( See Example Picture) The decades left its marks and a very nice patina that changes with the seasons . This water feature will be the focal point in any landscape design commercial and residential palatial . It is a piece of art , Mounted in a traditional provincial Italian Mediterranean French Spanish context a farm or a winery . Hand crafted Stone basin trough...

Hand Carved Stone Container Fountain Trough Basin Planter Antique Farm Sink LA . 18th Century water fountain Basin Jardinière Of Hand Carved Stone container . Color and patina keeps changing with the light and the seasons . this trough could be installed with a simple bronze metal spout or a carved stone fountain head , we have many options of them , in order to create a charming garden water fountain for your pets or to have it as a dog bowl . A nice size stone trough from Provence . The centuries left its marks on this container and a very nice patina . Installed will be the focal point of any landscape design laid on gravel or mounted as a kitchen Farm sink...

The Mahogany Bed Step has become one of our best selling items. Simple and tasteful style, practical and elegant details are all combined with great qual...

Northern Italy, early 18th century With feature generously proportioned gilded scrolls surmounted with an acanthus leaf crest motif. Would be stunning if re-appropriated as a full height mirror...

Pair 19th Century French Wrought Iron Garden Lanterns are a testament to the extraordinary talents of a master blacksmith! Intended for either the grounds around a church or a garde...

Very special and a hard to find example of c1940 John Salterini craftsmanship in this classic iron chaise lounge in old green paint. Hammered feet intact, where they are usually rust...