Stained Glass Furniture

George W. Maher Prairie School Stained Glass Arched Hollyhock window pair, 1906 George Washington Mayer Pair of window panels forming a ro...

A fantastic very large pair of exceedingly rare leaded stained glass Palladian window panels, circa late 19th century. Features the Manchester England Coat of Arms, aptly titled 'Co...

Reverse glass portrait of a child in stained glass and jeweled glass frame, American, circa 1900–1910. This striking object unites the delicate intimacy of reverse glass painting wi...

Discover the epitome of Italian craftsmanship with this exquisite pink Murano glass cabinet, a limited-edition masterpiece. Handcrafted by skilled Venetian artisans, this cabinet s...

This exquisite Art Nouveau Tiffany-style chandelier captures the essence of early 20th-century craftsmanship, blending organic form with vibrant artistry. The pendant’s lush green st...

Pair of Gothic style church windows with dedications. Gorgeous stained glass coloring and designs with dedication marker on each. The windows are housed in an iron frame with clear g...

A framed wall mirror in patinated brass. Bronze, silver or grey tinted glass available. Supplied with two screw fixing points to rear face. Handcrafted in the North East, England. M...

The Fun Guy table lamp is equal parts whimsy and grace. Drawing on the forms and luminescent coloring of wild mushrooms and fungi, a chunky metal base is cappe...

Monumental Antique Mechelen Renaissance Revival China Hutch, circa 1890s. Made from oak with elaborate figural and floral carved details. Features vibrant original stained glass w...

Two matching mid-century hexagonal Italian Gothic lantern pendants.. Cast metal in a traditional wrought iron form. Worn black finish over silver. Glass panels in amber with a red...

Santambrogio e De Berti Specchio curvo ovale Vetro colorato blu, ottone e vetro specchiato. Vetro blu curvato con incisioni argentate nel retro che assimilano e somigliano a tante g...

A super quality Gothic Revival oak, leaded and painted high fired glass three-fold fire screen, in the style of AWN Pugin, with roundel and mistletoe decorat...

Art Nouveau stained glass lantern, France, 1890-1900. This magnificent Art Nouveau stained glass lantern, dating from 1890-1900, combines vibrant stained glass panels with an intrica...

A charming early 20th Century Arts & Crafts leaded stained glass window panel. Features a geometric center of green ovoids centered and flanked by amber with diamond shapes in the c...

A beautiful Art Nouveau pedestal desk in walnut with cabinets at either side of knee-hole opening to offer six storage drawers, in addition to the three drawers along the apron. The small bookcase resting over the rear top features a gallery with carved cyma curves and finials and offers an open cubby with shelves that is flanked on either side by cabinets with stained glass door panels...

Our modern marble-effect glass sideboard is an eye-catching piece of mid-century modern furniture made with meticulous attention to detail in Italy. This elegant sideboard features...

Fantastic large Mid Century Brutalist Figurative Sculpture in Steel with circular glass inserts, on a wood base. Patinated welded steel with red and yellow stained glass depicting a ...

Introducing the Green Murano Glass Modern Console, a masterpiece of contemporary design that combines the timeless elegance of Murano glass with the sophistication of brass. This u...

Complete set of six flawless panels, French stained glass in polychrome glass with shutters, locks, handle and original key. Beautiful stained glass from the Art Nouveau period with...

Smooth, curved, and distinctly contemporary, this capsule-shaped sideboard features a softly rounded silhouette that brings a sense of quiet sophistication to any interior. The body ...

The mirror has a rectangular shape with slightly rounded corners, giving it a modern and delicate appearance. The frame is amber in color, with a warm, enveloping tone. The finish ap...

Lampadario iridescente raro, oro “Gaetano Sciolari 1970” Un lampadario Gaetano Sciolari con le sue bacchette di vetro magiche esprimono vivacita' e voglia di vivere a colori. Le “a...

Gorgeous Antique Bookcase, French Carved Oak & Stained Leaded Glass, Hunt, Foliate, 19th Century, 1800's! This antique bookcase is a stunning piece of French furniture that will add a touch of elegance to any room. Crafted from dark wood tones, the bookcase features carved oak and stained leaded glass, making it a unique and beautiful addition to your home. The bookcase has a free-standing design and features four shelves, providing ample space to store your favorite books or decorative items. The antique bookcase has a hunt theme and was manufactured in France during the 1800s. It measures 77 inches in length, 21 inches in width, and 100 inches in height. The bookcase is perfect for an adult and can be placed in various rooms of your home, including the foyer, living room, home office/study, lounge, guestroom, or hallway. Assembly is not required, and no additional parts are needed. French carved oak hunt bookcase, 19th c., having stepped cornice, foliate frieze with central lion mask flanked by birds, over three stained and leaded glass cathedral cabinet...

This exquisite pair of Mid-Century Modern table lamps by Orrefors showcases the timeless elegance of Scandinavian design. Designed by Carl Fagerlund and handcrafted from high-quality...

Fabulous handcrafted table lamp by Christopher Wray in England. This lamp is one of very few examples we have ever had the pleasure to be able to offer. The shade is lovely and is ...

***Reduced In-House Delivery Rates - Click on “Ask Seller” to Request a Quote*** Antique Triangular Arts & Crafts Architectural Stained Glass Window C1920 Measures- 25"H x 49"W x 1...

This is a beautiful Art Nouveau Slump Glass Chandelier. The metal work is very well done in an ornate floral style using curved metal and appl...

This sectional mirror was made in France in the 1930s. Art Deco in style - this piece would grace any room in the home and would also be a lovely piece for a boutique hotel suite too...

A set of 2 antique stained glass panels of Neoclassical figures. Dating to circa 1780, these stained glass panels have stood the test of time; each one showcases precision, detail an...

This stunning Italian sideboard has been designed by La Permanente Mobili Cantù, and it's a unique expressive piece of the midcentury italian design manufactured in the 1950s. It’s uniqueness is given by the amazing unusual sculptural shape design of the cabinets made of teak wood...

Introducing the Spectacular Blue Pantry Cabinet, a masterpiece of Italian craftsmanship that brings the timeless elegance of Murano glass into your home. This unique piece is not jus...

Early 20th Century stained glass window with great colors and a beveled glass center in the original wood frame. This was the better half of a double hung window from a home built in...

Elegant and refined handcrafted brass coat rack, gold-colored mirrored glass, produced by Pierluigi Colli for Cristal Art 1950s. Including rectangular glass on top. Presence of two r...

This extraordinary chandelier by Max Ingrand for Fontana Arte is a masterpiece of design and innovation, a symbol of the elegance and sophistication of 1960s Italian lighting. Max In...

Very nice stained Glass Chandelier . shaped like a folding Umbrella , In a Amsterdamse School , Art Deco style . Fittings and armature manufactured by Gispen Giso...

Mirror that takes us back to the 1950s-60s where everything took life and form thanks to the glass masters. The star is in good condition, some signs of weather wear that matches th...

Antique Victorian stained & beveled fruit bowl transom window. A beautiful window with unusual glass and jewels. Arched top circa 1890's. Granite back clear background glass. 2 1/4...

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...

French Art Nouveau stained-glass lantern, France, 1890-1900. Stained-glass and iron. Hammered cathedral glass. Full height: 36.2"(92cm) can be shortened, Diameter: 14"(35.4cm). Deliv...

Stunning Large Hand Crafted vintage stained glass and wood folding screen room divider. Purchased by the original owners at an art fair in New Mexico circa 1970’s. Simple wood frame ...

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...

Two decorated stained glass panels, completely restored, dated, circa 1935.

An Italian mid-century pendant lamp, Azucena style, with brass and satin glass, two light E14 formats. It has a great executive quality in the brass parts and a fantastic contrast be...

Pine door with Victorian style stained glass window panels. Beautiful artistry throughout all the panels, with leaded flowers and fleur-de-lis.

Late 19th century Italian wrought iron lantern with its multicolored stained round glass. Each disk is unique, hand blown and hand colored probably originated from the Venetian islan...

Early 20th Century door with large stained glass window. Art Deco styled design with colorful glass panels. There are 2 doors, the listing is for 1.

Set of 3 English Arts and Crafts stained pink & clear leaded glass window panels with diamond and clover leaf border in wood frame. (Similar ...

***Reduced In-House Delivery Rates - Click on “Ask Seller” to Request a Quote*** Art Nouveau Liberty & Co. Carved Mahogany China Cabinet...

To your attention this important and remarkable Italian executive Desk of the 1950s, very rare, manufactured by Esposizione Permanente Mobili Cantù (marked) and attributable to the i...

An antique lancet-arched stained glass window of five biblical figures by Hardman & Co, Birmingham. Competently painted, this dramatic stained glass window dates to 1889, once a par...

This woodwork characteristic of the Art Nouveau style comes from the Café Barjot located avenue Ledru-Rollin in the 12th district of Paris, it was made in 1905. It is composed on a f...

A large 19th century religious stained glass window in an unusual later oak frame. Beautifully detailed and vibrant, this stained glass panel depicts Jesus and Saint Matthew observi...

A very large and highly detailed antique stained glass window circa 1900 of French or Italian origin depicting a neoclassical scene. This is one of four similar windows we are sellin...

A console table in patinated brass, with a polished brass trim. Hand crafted in the North to order. Custom sizes and finishes are available. Measures: 120cm W x 25cm D x 80cm H. Cu...

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 stunning Italian sideboard has been designed by La Permanente Mobili Cantù, and it's a unique expressive piece of the midcentury italian design manufactured in the 1950s. It’s uniqueness is given by the amazing unusual sculptural shape design of the cabinets made of teak wood...

This refined pair of Italian bedside tables in the style of the 1950s embodies the elegance of mid-century modern design. Made of solid birch wood, these side tables feature hand-p...

Italian Birch Sideboard Embellished with Gold Murano Glass and Brass Handles This exquisite Italian birch sideboard is a masterpiece of mid-ce...

A circular coffee table in incredibly rare British marble and blackened steel. Hand crafted to order in the North. Measures: 80cm diameter ...

A minimal, pivoting mirror in patinated bronze. Hand crafted in the North to order. Custom sizes and finishes are available. Supplied with two screw fixing points to rear face. Lar...

Antique brownstone window with yellow tinted glass and beautiful leaded designs. Currently housed in a wooden frame - the overall dimensions are for the stained glass and the frame. ...

Discover the epitome of Italian craftsmanship with this exquisite pink Murano glass cabinet, a limited-edition masterpiece. Handcrafted by skilled Venetian artisans, this cabinet s...

Elevate your bathroom with our magnificent green cabinets crafted from exquisite Murano glass. Handmade in Italy, these one-of-a-kind pieces blend solid birch wood with intricate colored glass panels in a rich emerald hue, adorned with brass accents for opulent sophistication. The cabinets exude a modern yet timeless allure, seamlessly blending functionality and artistry. Ample storage compartments and drawers offer practical solutions, while the glass elements 90 glass spheres an ethereal beauty. Each piece is a unique creation, taking 3-4 weeks to produce by skilled artisans. As creators of exceptional environments, our company harmoniously combines antique, vintage, and contemporary elements to evoke emotions and reflect individuality. This is a luxurious, modern-style bathroom cabinet that elevates any space into an eye-catching oasis through its unparalleled craftsmanship and design. Indulge in the extraordinary and embrace the epitome of style with our magnificent green Murano glass bathroom cabinets...

Italian Birch Sideboard Embellished with Gold Murano Glass and Brass Handles This exquisite Italian birch sideboard is a masterpiece of mid-ce...

Stunning Sideboard and/or Vanity dresser designed by Vittorio & Plinio Dassi in the 1950s. Its aesthetic uniqueness is given by the original sculptural shape design of the drawers an...

Square window with stained glass design. Muti-colored and textured panels, set in a leaded Art Deco design. Currently housed in a wooden frame - the overall dimensions are for the st...

Introducing the Wrought Iron & Hammered Glass Chandelier by Longobard, a stunning piece of Italian craftsmanship from the 1970s. This exquisite chandelier is a true work of art, featuring a colorful stained glass design that will add a touch of elegance and sophistication to any room. Crafted from high-steel and finished with gold gilding, this chandelier boasts a beautiful gold chain...

The amber glass tones from this Brutalist lamp gives off a warm subtle light contrast to the design.

An antique Hardman & Co ecclesiastical stained glass panels depicting a king on his knees holding a thurible. Competently painted, this dramatic stained glass window dates to 1889, ...

This pair of magnificent doors come from inside a church, and feature two religious scenes with Latin text. Beautiful coloring and leaded designs depict Mary, Joseph and child, with ...

Long American made stained glass window with fleur-de-lis and shield. Currently housed in a wooden frame - the overall dimensions are for the stained glass and the frame. Located in NY

True Arts & Crafts two-tone geometric pair of stained glass windows. Subtle workmanship which exudes simplified elegance. In very good or...

This stunning pair of Murano glass cabinets feature the unique "Big Babol" style with an eye-catching two-tone Black and White color scheme. Made in Italy by skilled Venetian artis...