Art Glass Furniture

Pair of modern Italian vases in Murano glass amber and gold in two different size, in very excellent original condition, entirely realized handcrafted and handblown in the Venice Mur...

A massive Gothic-arched brightly-colored stained glass depiction of the biblical Ruth holding a wheatsheaf in a wheat field by a stream. The image is bordered by columns supporting an elaborate crest of spires against a blue sky. Extensive use of drapery glass and plating (layering) glass to enhance the three dimensional effect. The lower panel states, To the Glory of God and in loving memory...

'Sakura TFO24017' is a unique sculptural glass vase covered in an organic adornment of glass shards by the Dutch artist, Maarten Vrolijk. The piece is flame polished to soften the ed...

Elegant oval dining table mid-century Italian design, note the special design of the feet with brass ferrule. The style is very similar to th...

1960s Sommerso Murano Art Glass Green Votive Candle Holder short vase or paperweight Unmarked. No label remains. 4.25 h x 4 x 4 Original vintage condition refer to images

Designed in 1987 by Toso Murano, these vases are classic but rather elegant. They will give a touch of class to your room. Tobacco color with 24-karat gold leaf decoration and inter...

Of all the glassworks produced in the late 19th century, cameo glass was the most challenging to perfect. Only a handful of artisans succeeded in mastering this intricate craft, with the firm of Thomas Webb & Sons standing out as the most accomplished. Webb’s cameo...

A Wonderful Vintage Venini Art Glass Blue Vase, Signed And Dated On Bottom Of Vase & Still Retains Sticker On Side H 14 1/4" x W 6"

Mid-century hand-blown Murano Art Glass Cockatoo Bird features cobalt blue feathers with striped red streaks. The Cockatoo is perched on a wave-shaped base, where gold flecks elegant...

A really beautiful clear colored Art Deco perfume bottle with a wonderful glass stopper. In excellent condition with no chips or signs of use at all. A real collectors item for your ...

A fine antique French Art Deco five color cameo Art Glass vase, by Charles Schneider, circa 1923. The tapered baluster shaped vase with a muti-color rim and a band of polished styli...

A fabulous pair of modern Italian Murano hurricane hand blown urn-shaped glass shades with a green swirl motif resting on polished nickel bases (base ...

Venini glass vase in iridescent red designed by Fulvio Bianconi in 1989. Perfect for indoor home decor as a flower vase or statement piece for any room. Numbered edition for year. ...

Vintage "Bubbles" art glass paperweight, circa 1990s. The piece is in very good vintage condition with no chips or cracks and measures 3.25"D x 3"H. Much better looking in person t...

This elegant square pendant chandelier is a refined example of early French Art Deco lighting from the 1920s. Suspended from a geometric frame, the light features frosted art glass p...

Phaenomen Genre Vase Loetz Circa 1890-1899 This elegant Jugendstil vase by Loetz exudes an enchanting, colorful glow, featuring the iconic Phaenomen Genre Series 1 glass bowl, first...

Rare Model 1088 chandelier with 9 dual lense sets of thick studio glass, sand blasted at the center to diffuse light and configured arround a suspended ring of nickel plated brass. D...

Pair of cabinet Paolo Buffa design Mid-Century Modern bar furniture, mahogany and brass. It has a large flap door that hides an elegant mirrored bar with glass shelf, noteworthy car...

Mid Century Heavy Glass Small Bud Vase. Well formed Swedish art glass heavy organic bud vase. Signed but unrecognised. This is in excellent condition, no chips, cracks or faults. ...

From certain angles it looks like a face in profile. But this heavy stock freeform dish or centerpiece bowl actually mimics ice with incapsulated shells. Designed and made by Pukeber...

Crystal Glass Ice Bucket Silver Plate Handle Square shape with curve around edges. Clean modern lines Unmarked. Attributed design style Cristal de Sèvres 10.25 to top, 7 h to glass ...

Beautiful vintage Murano hand blown deep red, silver flecks, controlled bubbles Italian art glass flower vase. Created in the manner of the Barovier e Toso and Arte Vetraria Muranese...

Pair Palmette ceiling lights made by 163 Murano smoked glasses in a gold metal frame. Murano blown glass in a traditional way. Structure in gold colored metal. Period: 1980s Dimensio...

A beautiful art glass Sommerso vase, attributed to the Italian designer Flavio Poli. The vase is in good condition. Beautiful colors and quality. Dimensions: 4,5 x 4,5 cm and 14,5...

Imagine integrating into your interior design project a sideboard that is not just a piece of furniture, but a true work of art, capable of capturing attention and transforming a spa...

A gorgeous antique Art Nouveau iridescent art glass bud vase By H. Copillet Et Cie (signed to the underside) France, Circa 1900 Measures: 4"W x 4"D x 4.75"H. Very good original v...

Amazing Pair 1970's Italian Mid Century Modern Carlo Nason for A.V. Mazzega Murano Art Glass Ceiling Pendant Fixtures. All original, all intact and ready to mount. Thick Steeped Art ...

Iridescent glass and polished aluminum chandelier or lustre, French. polished aluminum The green glass is decorated with a line of gold paint. Luminaire made circa 1920 in the Art Dé...

A contemporary creation of the highest quality and sophistication, this lighting fixture, with Art Deco Design and Hollywood regency flair, is entirely handmade in Italy, and compose...

Mid-century Pendant chandelier, mixture of opalescent and clear Murano glass, by Carlo Nason for Mazzega, Italy 1968 Very heavy! Rewired.

A fine Italian art glass vase. By Venini. After the orginal design by Tomaso Buzzi. Model: 3316 from 1933. This is a reissued vase from 2001. In light blue glass with pale gold/...

Pair of Candlesticks "Marguerites" (Daisies)  made in glass with sepia green patina by René Lalique in 1922. Molded signature. Great condition. Two very tiny hairlines from manufact...

Flavio Poli for Seguso - Sommerso Murano vase - Collectible Glass "Sommerso" is a defining style of Murano glassmaking, easily identified by the layers of different colours making u...

A stunning piece from the 1950s, this Italian birch wall console comes complete with its matching stool. Crafted with a wooden frame, the console features an upholstered back in a ri...

An original Venini Vase in Clear/Gray Textured Glass. A large Vase in the form of of a Female torso. Original Venini sticker and engraved Venini/ Italia signature.

This mid 20th century Art Deco classic black and white Murano glass chandelier is characterized by its dramatic downward lights and superb simplicity. The three-light chandelier ...

Spectacular ceiling lamp p with 32 Murano smoked leaves in golden painted metal frame. Elegant lighting object. Period: late 20th century Dimensions: 17.50 inches (45 cm) height; 21...

Exclusive pair of Light Blue Murano Glass table lamps with satin bronze frame. The lamp is composed of 1 onion-shaped element with 24 carat gold and 1 skittle-shaped element. Touchin...

French Art Deco Glass Vase by Daum (Nancy), 1930s Thick Blown Green Glass. This striking French Art Deco glass vase by Daum, crafted in Nancy, France during the 1930s, showcases the signature thick, blown, and bubbled glass technique in a stunning green hue. The vase’s unique texture and rich color exemplify the refined craftsmanship and elegance characteristic of the Art Deco period. Measuring 7.5 inches (19 cm) tall, 8.7 inches (22 cm) wide, and 5.7 inches (14.5 cm) deep, this piece makes a bold decorative statement while embodying timeless design. The base is signed “Daum + Nancy France,” confirming its authenticity and provenance (see photo). In very good condition, this vintage Daum vase is an exceptional example of French Art Deco glass artistry, ideal for collectors and enthusiasts of fine decorative glassware. Key Features: Maker: Daum, Nancy, France Period: 1930s Art Deco Material: Thick blown and bubbled green glass...

Double Tiered Murano Glass Chandelier with vivid Blue Floral Patterns 1990s Italy. A Majestic Double-Tiered Murano Glass Chandelier with Exquisite Blue Floral Design This exquisite c...

molded amber obelisk-shaped bottle realized in France b J. Lanier in 1930s. Stopper with losses and minor chips, otherwise excellent condition.

Contemporary orientalist style custom lantern chandelier, of a modern Venetian geometric series with 4 shapes as per images, entirely custom made in It...

Amazing mid century large crystal decanter with stopper. The decanter is of great quality, and has an exquisite elegant design. It is hand-made of thick crystal (mouth-blown and hand...

Contemporary Moroccan Small Mouthblown Jug - Blue. Hand-made in Morocco. The glass is mouth blown. Approximately 12cm high. Because of the basic firing techniques the colours can v...

Unique large Murano glass vases. Designed by Gino Cenedese and Maurizio Albarelli for Cenedese et Albarelli, circa late 1970s. Deep gradient amethyst colouring, fading to a pinkish c...

Gorgeous and large, vintage Murano hand blown opalescent pink flowers and gold flecks Italian art glass centerpiece sculpture. The piece is created in the manner of the Seguso Vetri ...

Hanging pendant light by Felipe Derflingher for Feders Mexico circa 1960s Brutalist welded metal frame encasing colorful impressed glass A fine example of modern Mexican design

Mid-Century Culver Ltd Gold and Teal Green Vintage Rocks Single Glass With 22-Karat Gold Accents and Arched Window Pattern. Vintage Culver Ltd Emerald Green Scroll double old fashioned glass with bright 22k gold trim. Collectible Valencia pattern in a green and gold leaf finish drinking single glass, replacement, beautiful 1950's Culver Ltd 24K gold enamel and green scroll design. Description: Green & Gold Grillwork Design, Barware. Pattern: Emerald Scroll by Culver Ltd. Green color is vivid, not faded, and gold scroll is in perfect condition. No chips or cracks. Signed “Culver Ltd”. Dimensions: 4 in x 4 in. Condition: colors are perfect, but the rim of the glass at some point shows imperfection, it is not chipped but looks like because it was hand made it is imperfect. You can see it in the video and pictures. Could be used as a small flower vase or brush pot. Collectible Hollywood Regency Valencia pattern double old fashion glass in a green and gold leaf finish. This fabulous vintage Culver barware...

Vase Sign: Muller Fres Luneville acid worked Muller Feres The heart of the company was formed by five brothers (Henri, Desire, Eugene, Pierre, Victor) from a glass making family who ...

Our classic Brera Mirror in a 36" Diameter. This mirror is made up of two rings, one containing shades of Acqua glass mosaic and the other made up of Icy White glass mosaic. Small sp...

Elegant two-circle mirror by Cristal Art, Italy circa 1960. Designed by Franz Sartori. The glass is extremely thick and you really feel the high quality that Cristal Art always del...

1940s Italian gold infused Murano glass picture frame or vanity mirror. Attributed to esteemed Venetian glassworks Barovier & Toso, though also very similar to designs by Carlo Scarp...

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 Wonderful Art Nouveau Silver Plated Ewer Etched Glass Carafe Decanter In The Manner And Style Of WMF

Italian vintage Murano chandelier made by 23 glass petals "rondini" (transparent crystal, smooth outside, with crystal powder and then rough inside.) in a chrome frame. Period: late ...

Organic sculpture pair of modern crystal clear Murano glass wall lights in the Art Deco style of Barovier Toso, entirely handcrafted in Italy, with double cone shape shades providing...

Murano geode bowl by Cenedese. Vibrant smoke color with dark blues. Bowl measures 2.75" high and 10.25" diameter.

Bring the unusual yet elegant in your space! A modern suspension couture light fixture, a creation entirely handcrafted in Italy with lantern stylized shape, in the style of Max Ingr...

Outstanding Art Nouveau object, a bronze spinx on an onyx base on spheres, supporting a cornucopia, made by the Kralik glass manufactory, around 1900, Vienna, Austria. This special ...

Beautiful vintage Murano hand blown bright yellow, controlled bubbles and gold flecks Italian art glass love birds sculpture. Documented to the Barovier e Toso Company. The two canar...