Glass Furniture

A fine French Empire Revival 19th century giltwood and Gesso carved figural console table with matching mirror. The "D" shaped top console raised by a pair of seated winged sphinxes ...

Tiffin Glass - Finest quality set of five wheel cut crystal sherry or liqueur glasses - Art Nouveau style engraved florals to the 24K gold rims - gold d...

An exceptional pair of antique Arts & Crafts five-stack barrister bookcases By Globe Wernicke USA, Circa 1900 Mahogany, with glass front doors and brass hardware. Measures: 33.75...

An exquisite French Renaissance Revival Bibliotheque, Linen press or display cabinet. Circa mid 19th cenutry. A large rectangular oak case centered by original 3/4 length glass between turned and fluted columns. Lower side of doors features an inset baroque cartouche with fruit basket and foliate motif within an arched deisgn. Upper molding is stylized with a dentil molding over acanthus frieze. Opens to four adjustable shelves. Case is supported by bun feet. The phrase Knock-down referes to the ability for these pieces to be easily disassembled and re-assembled. This allowed for these massive...

This One-of-a-kind Arts and Crafts Style Light was made of hand-hammered copper and forged iron. The art/slag glass has been replaced. It has been wired in the US. The light would...

English Hand Crafted Brass and Frosted Glass Hall Lantern A quality English arts & crafts lantern with frosted glass cylinder shade. Hand crafted from brass the lanterns metalwork ...

Monumental Italian Gothic style lantern in wrought iron and two colored blue and green stained glass. The Lantern is measures 220 x 60 cm Lante...

The work is part of the Osmosis series, exhibited at Palazzo Franchetti, in conjunction with the 55 th International Art Exhibition of the Venice Biennale. The project combines new t...

A gorgeous antique Mission oak Arts & Crafts five-stack barrister bookcase By Lundstrom USA, Circa 1920s Oak, with glass front doors and brass hardware. Measures: 33.75" ...

Monumental Venetian Mirror, Early 20th century Etched and Beveled Details Offered for sale is a large early 20th century etched Venetian mirror. The individual beveled border piec...

A gorgeous Arts & Crafts or Art Deco period bronze and slag glass "Grapevine" pattern inkwell By Tiffany Studios (signed to the underside) New York, USA, Early 20th Century Measur...

Late 19th century Arts and Crafts mission style swag / pendant light. Pyramid shaped with flared top, trimmed in brass with chain link design along lower edge. Light green and amber ...

Set of four "Liberty" Italian Stained Glass door- window Panels, Italy 1900 c Measure: Each door/panel measures height cm. 187, width cm. 52 a...

Beautiful antique American Arts and Crafts period table lamp in bronze with stained glass shade by the Miller Lamp Company. With two modern standard size sockets and cord, ready for...

American frosted glass flush mount. Metal bulb holder with brass glass holder. Frosted glass shade. Weight: 0.50 kg / 1.1 lb Priced per individual item. All lamps have been made su...

Distressed Painted Egyptian Revival Style Console Table with Inset Glass Offered for sale is a painted and distressed console table in the E...

On offer here is an antique solid oak Henri Deux mirror that was made in northern France in the early 20th century. It was elaborately decorated with two ha...

Magnificent and ultra rare Arts & Crafts Art Nouveau coat rack. Striking Dutch design from the 1900s. Solid walnut frame with original hand-carved veneered decorations. Ten original ...

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...

Rare beautiful colors and glints for this exceptional ashtray or bowl by Dino Martens, in Murano Glass in the tradition of Italians greats manufacturers like Venini.

Beautiful design and practical size pair of Renaissance style candle sconces. This antique pair of bronze sconces will look great above a side table, your bedside cabinets or in a h...

d N 6 good-quality wall sconces manufactured by the STILNOVO company, in the 1950s-60s. Made in ITALY.

Architectural Wasmuth Print of the Cheney House in Oak Park, Illinois. This was originally drawn by Frank Lloyd Wright in 1903, and this print is circa 2000s. Nicely framed.

Remarkable gothic revival church light fixture. Made from beautifully patinated bronze and milk glass. Original obsolete light socket has been replaced wi...

Antique hand crafted, stylized sunburst design two light flushmount / fixture. This 1920s two-light flush mount has the most serene look and feel and you will hardly ever find a light fixture from the early 1900s era in this good of a condition. Thanks to its matt white, single color art glass shade combined with the serene looking, single color wrought iron frame this light fixture could not be more timeless. Thanks to the matt glass shade and unlike almost all other midcentury glass flush mounts, this unique specimen does not at all reflect any of the surrounding colors or sources of light in the shade. Mind you, our photos were shot with this flush mount very close to a window and as you can see, the matt glass shade remains pure white in all of our photos, giving this fixture its unique, 'tranquil' look and feel. Combined with the handforged in fire, wrought iron gallery around the glass shade this timeless ceiling light will also work perfectly in a contemporary interior. Unfortunately we don't know who the designer is, but judging from the Arts & Crafts design and the quality materials, we feel, this should be by one of the better known European artisans from that era. The combination of this flush mount's large size, single 'color' and its timeless design with the hand crafted wrought iron makes it the perfect fixture to complement an Arts & crafts, an Art Deco or a Mid-Century Modern living room, office, kitchen area or bedroom. With only four screws via which you can safely mount this rare fixture tight to your ceiling, this one of a kind light fixture also is easy to 'install'. Both with the light on and off this handcrafted work of beauty is an absolute joy to look at and it will perfectly balance your living space. So if you are looking for an original and timeless fixture, at the best possible price, then this rare flushmount...

Elegant and imposing mirror with a pine wood frame, finely carved and gilded with pure gold leaf. The frame is adorned with sophisticated guilloches and beads, while the lower part e...

One of a kind and all-handcrafted vintage pendant light. This semi-antique light fixture comes with as many as 8 beautiful Tiffany style, 'caramel slag' curved glass panels. Both in...

Beautiful Antique 19th century Neoclassical giltwood and gesso triptych overmantle mirror, with bevelled edge glass, classical chariot scene relief and Corinthian column pilasters.

Antique French Renaissance Revival mantel or vanity mirror. Made of walnut featuring acanthus / floral pinwheel design and pairs of fluted columns flanking a beveled mirror. Dimens...

A rare and outstanding antique Arts & Crafts period large picture frame By Tiffany Studios (signed to the back) New York, USA, Early 20th Century Patinated bronze in iconic pine n...

An antique Victorian Renaissance Revival chest of drawers offers walnut construction with tall mirror having shaped frame and burl panels...

A gorgeous antique Arts & Crafts five-stack barrister bookcase By Globe Wernicke USA, Circa 1900 Mahogany, with glass front doors and brass hardware. Measures: 33.75"W x 11.5"D x...

Geometric designs with bright coloring make up this wonderful window. Marbled color in each stained glass panel. Currently housed in a wooden frame - the overall dimensions are for t...

This exquisite 19th-century Italian bookcase exemplifies the Renaissance Revival style with its masterful craftsmanship and elaborate design. The bookcase features beautifully hand-c...

This monumental and architectural church fixture could be the perfect addition to your Gothic collection or interior. If you appreciate the history and beauty of the French Gothic style then this amazing light fixture from the late 1800s could be perfect for you. When we first saw this work of lighting art, we were in awe and, as it goes with great antiques, we still are. The magnificent design, but also the quality of all the handcrafted and bronze elements make this antique chandelier a true work of art and a real joy to look at. With five Gothic style, winged gargoyle...

For sale a very rare early 19th century infants coffin carrier, this would of been housed on a horse and cart hearse. The casket has a decorative wrought...

Small size, early 1900s Gothic Revival light fixture. In architecture, a chimera or grotesque is a fantastic or mythical figure used for decorative purposes, but in the 12th and 1...

Stunning moon shape chandelier pendant light 1900s. This rare ceiling lamp from the very early 1900s could be the perfect lighting solution for an entrance or any other small livin...

Table display cabinet. For the collectors of rare Arts and Crafts antiques. When we first saw this cabinet, we immediately were convinced that it could have only been designed and h...

Circa 1860s, Baccarat, France. These antique Baccarat water goblets are perfect for water or wine. The pattern is Empire and the look is Baroque...

A magnificent 19th century Gothic Revival hand carved painted parcel gilt bibliothèque (bookcase - buffet - china cabinet). Born in France, circa 1840, most impressive size, two-...

The Caldwell Lantern is silver-plated in an orientalist form of a tassel. This Whimsical Lantern is fashioned to resemble a hand tied corded knot com...

Fabulous cast aluminum with obscure glass top cocktail table by Molla of Italy. Good size, which will work with our settees listed. Great castings on th...

Graceful and all handcrafted antique light fixture. This early Arts & Crafts era pendant has an aesthetic beauty that you don't find anymore in this day and age. It has the most pleasing to the eye shape and amber color and the handcrafted brass has a marvelous patina. In images 2 and 3 you can see that this unique light fixture started its life as (and still is) a candle lantern. Because of the Gothic quatrefoil details this may have been a sanctuary lamp at the entrance of a church or monastery. The beautifully patinated brass is all hand-crafted, but the unique art glass shade with its unique hand-etched, flowery patterns and amazing color is what makes this antique truly special. Have you also noticed the 'stand-alone' etched oak branches with acorns? They symbolize growth and unlimited potential since an acorn can grow into a huge oak tree that, by itself, can seed an entire forest. Both with the light switched on and off you could not wish for a more stylish, European antique fixture. It is of the kind that you certainly don't find anymore in this day and age. This ideal hallway or bedroom pendant light...

A fine and rare Italian Venetian 19th century giltwood carved Rococo "Vernis Martin" style decorated credenza vitrine cabinet with a marble top. The upper single door vitrine with a ...

Top quality handcrafted and large size entry-hall lantern with thick transparent glass. Finding the right light for your entry hall in this day and age certainly is not easy. Whenev...

Fantastic etched light sage green colored glass vase featuring birds as well as fruit. When found, we were told this piece is a Mexican blown art glass p...

A set of three French 19th-20th century Gothic revival style gilt bronze and glass single-light hanging lanterns with opaque-yellow stained-art-g...

This is a Tiffany Style Table Lamp. It depicts a metal fluted baluster shaped lamp base decorated with repousse rocailles and scrolls feet at the bottom. A round shaped pearl color o...

Massive Victorian Era Renaissance Revival hall tree and umbrella stand, circa 1870s. Made from walnut with a large glass plate pier mirr...

Made in Miami by The Studio of Lighting, this decorative Modern Sconce will add an luxurious accent to your Arts and Craft inspired home or even to your get away rustic cabin. The design in patinated copper metal is of a slanted rectangular front panel pierced towards the top and sides with a line of circles which are covered from the back with cobalt blue glass. The back panel has also perforated circles but without the blue glass. Subtle ambient light with a touch of Deco Revival or being from the 1950s- 1960s American. Has a single medium base socket. The label: The Studio of Lighting 70...

***Reduced Delivery Rates - See Below or Click “Ask The Seller” to Request a Quote*** Arts & Crafts Gunn Four Stack Oak Barrister Bookcase with Pullout Glass Doors and Raised on an ...

Arts & Crafts Large stained glass window circa 1900-10. Beautiful archway shape highlighted by warm floral motifs. Good original condition. ...

19th Century French Renaissance Bookcase ~ Bibliotheque is a study in both classical architecture and artistic naturalistic embellishment, all rendered in dense, old-growth oak to la...

A gorgeous antique Arts & Crafts mahogany four-stack barrister bookcase By Macey USA, circa 1920s Measures: 35.25"W x 12.25"D x 58.5"H. Very good original vintage condition.

Intaglio or cameo, portrait. Glass. Possibly Italy, 19th century. Profile of a relatively young man, with wavy hair, divided into locks, reminiscent of ancient Roman portraits of c...

A large Arts & Crafts ‘Clutha’ art glass bowl designed by Christopher Dresser (British, 1834-1904) attributed to Thomas Webb and dated 1879. The bowl is of distinctive wide rounded s...

A French Renaissance Revival folding three-panel screen with hand-painted Grotesque motifs and inset glass from the 19th century. Reminding us of motifs that one would see on the ceiling of the Uffizi gallery in Florence, this French painted screen...