Revival Furniture

A mid 19th century Rococo revival chimney piece executed in superior Statuary white marble and profusely carved in high and low relief. The cantered jambs with large scrolled and bea...

A very fine Anglo-French 19th century rosewood, palisander, amboyna and satinwood marquetry (inlaid) art-case baby grand piano, the works by "Collard & Collard". The intricately deco...

Carved Mahogany Relief of the Lion of Saint Mark with the Wheel of Saint Catherine A finely carved and deeply modeled wooden relief, depicting the iconic Lion of Saint Mark in a str...

European entry throne chair with Ikat designer fabric, antique brass nail head detail & blanched hardwood in a natural finish.

This is a fantastic and highly decorative antique pair of French gilt bronze mounted Empire Revival fauteuil armchairs, circa 1870 in date. They have been crafted from fabulous sol...

Beautiful antique gilt bronze plaque in bas relief of a Greek goddess depicted with wings, probably the goddess Clio, the plaque is mounted on a hardwood carving in neo-Gothic reviva...

Gorgeous French antique 19th century Renaissance revival / Hunt style Writing desk in carved oak. Marvelous decorated hunt style desk with fox head drawers & barley twisted columns....

Antique Baroque carved walnut throne chair, circa 1880. The chair having a carved crest with a shell motif to the center flanked by a pair of fi...

19th century Spanish antique walnut chest of three drawers and original iron hardware. You can use like a commode or chest of drawers or large nightstand. This elegant console was cr...

Pair of Late 19th Century Italian Carved Giltwood Neoclassical Wall Brackets, Grand Tour Influences A finely carved and gilded pair of Italian neoclassical wall brackets, dating to ...

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...

A W N Pugin. Made by John Gregory Crace. A rare Gothic Revival four-door pitch pine wardrobe with hand-carved fleur de ley finials flanked with castellated...

Very Fine Gothic Revival Cathedral Style Wall Bracket/cabinet with Original Stained Glass and fine Bronze Details - cherub faces, door with detailed latch, column motifs, and scallop...

Late 19th Century Bronze Fountain of a Cherub Holding a Dolphin. The subject of a cherub and dolphin is a classical motif, symbolizing love and the sea. This finely cast piece captur...

This pair of antique converted candelabra lamps are unsigned, but presumed to have originated from France and date to approximately 1880 and done in a Renaissance Revival style. The ...

19th century Flemish oak and stain glass cabinet circa 1890. Narrow Flemish cabinet comprising of 2 sections, which rarely comes with its original stained glass panel in the top sec...

Each jamb of the fireplace has a brown bear standing on a plinth holding a heraldic shield. Above the bears are carved capitals supporting a substantial breakfront cornice shelf. The...

Circa 1850 Gaudy Welsh "Grape" Pattern Teapot, English, Staffordshire District. Rococo revival form with original cover. Slight discoloration to lid floret knob & wear to the lustre ...

These bronze sconces are Second Empire and were created in France, circa 1850. The pair has three lights mounted on a patterned hoop. The wall plates of these sconces have two large ...

Rococo Revival Walnut Wood & Veneer Sideboard/Buffet From 1850 A Rococo Revival style sideboard/buffet from around 1850. The piece is made of wood and walnut veneer, with the front ...

19th century Renaissance Revival bookcase is a magnificent ode to the era, with carved detailing that can only be described as sculpture from ...

Safe box. Iron. XIX century. Rectangular safe made of iron, with a rectangular base, two handles on the sides and classicist-influenced molding decorations on the fronts and top. It...

An Important French Renaissance Revival Covered Box, Crafted in Silver and Mounted with Lapis Lazuli Panels, Gilt Bronze Figures, and Jeweled Cabochons. The piece is signed in two lo...

Antique cabinet portrait by Limoges France of Marie-Louise , second wife of Bonaparte.

Beautiful, early 1800s, wooden sculpture of a Holy Mary with child Jesus on her arm. This stunning church relic is another great example of the quality of 19th century, European craftsmanship and we are grateful for it to have found its way to our gallery. Also, because we are certain we will make a private collector or someone's congregation very happy with it. From the amazing body posture, the wonderfully serene facial expressions and the superb manner in which Her draped clothes are hand carved, one can see that this antique and sizeable Virgin Mary statue is the work of a master sculptor. This rare antique statue is made of solid oakwood and can be enjoyed on the floor, on a table, on a wall bracket or even mounted on your wall (via the sturdy antique metal hook...

1876 Centennial Exhibition, J & L. Lobmeyr Exceptional Ormolu Mounted Bohemian Ruby Glass Centerpiece This exceptional Bohemian ruby red glass centerpiece, by he renowned Viennese glass manufacturer J. & L. Lobmeyr, exemplifies the firm's mastery in combining classical aesthetics with innovative design. Created circa 1876, this piece was showcased at the Centennial International Exhibition in Philadelphia, reflecting the era's fascination with classical motifs and superior craftsmanship. The centerpiece adopts a form inspired by admired Greek patterns, characterized by its elegant proportions and harmonious contours. The exquisite ormolu handles, reminiscent of Urbino vase designs, are artfully crafted as serpents with their heads pressed flat upon the rim in a vigilant posture, while their sinuous bodies attach gracefully to the bowl, culminating in finely detailed finials. This serpentine motif not only enhances the visual allure but also imbues the piece with symbolic significance, as snakes often represent protection and eternal life in classical iconography.​ Encircling the vessel is an expansive frieze featuring intricate scrollwork and figural representations. At the center of this decorative band stands a winged female figure, flanked by conventionally stylized lions, a composition that evokes themes of strength and guardianship prevalent in ancient art. The engraving is executed with extraordinary precision, with each leaf and tendril rendered in minute detail, showcasing the unparalleled skill of the artisans. The Centennial International Exhibition of 1876 in Philadelphia was a seminal event, marking the first World's Fair held in the United States. It celebrated the nation's centennial and served as a global stage for artistic and industrial achievements. J. & L. Lobmeyr's participation in this exhibition underscored their commitment to excellence and innovation in glassmaking. Pieces such as this centerpiece would have captivated audiences with their blend of historical inspiration and contemporary artistry, reflecting the 19th-century penchant for reviving classical forms through modern techniques. Founded in 1823 by Josef Lobmeyr, the company quickly established itself as a purveyor of fine glassware, earning the distinction of becoming the Imperial Court Supplier. Under the stewardship of Josef's sons, Josef and Ludwig, the firm expanded its artistic horizons, collaborating with eminent designers and embracing diverse stylistic influences, including Islamic and Persian motifs. Their innovative approach and dedication to quality garnered international acclaim, with their works featured in prestigious institutions such as the Museum of Modern Art in New York, and most importantly The Corning Museum of Glass. This Bohemian ruby red glass centerpiece with ormolu...

Elegant Gothic Revival ebonized pedestal from the 19th century. Carved Lion heads are set on 4 sides with carved paw feet at base. Ebonized carved wood. 1870s USA. Measures: top 14...

An Our Lady Of Rosary lithograph, Germany, circa 1890s. A heavily distressed piece in period frame showing a history of devotion. sight: 15 ¾ by 19 ¾ in...

A very fine Louis XV Italian side tables or nightstands with elegant marquetry work, all original unrestored. This sumptuous side tables have a distinctively shaped rectangular marqu...

A pair of cast iron candlesticks by "CJ Vombach Frankfurt A. Main Sachsenhausen" in neo-Gothic style Signed in de base inside Circa 1880 Height 19 cm

A similar model was exhibited at the 1889 Paris Universal Exhibition. Rare pair of round table made of patinated and gilded bronze with a top veneered with malachite and circled with bronze mounts adorned with ovum and beads. They stands on three patinated bronze feet with lion heads and paws, linked with gilded bronze X braces. Related Works: The feet of these gueridons adopt a sleek design and are adorned with claws and lion heads. Inspired by a well-known model in the Barbedienne Company production and it has been reused many times by his workshop. These gueridons shows how the Barbedienne Company offered a range of furniture from the designs of its decorator Louis-Constant Sévin. He designed this model of gueridon few time after he joined the Barbedienne Company in 1855 and this model can be seen on different interior decorations of the Second Empire. A tripod gueridon with feet like these ones can be seen on a picture showing the cold room of the Pompeiian house built for Prince Napoleon. (see picture attached, photograph by Laplanche J et Cie, between 1860-1866, Musée Carnavalet, Paris, PH15305). Most of the Ancient style furniture was made by Charles Rossigneux (1818-1908) but this gueridon shows that the Barbedienne Company took also part to this work. Biography: Henri Picard was established in Paris, 6 rue Jarente from 1831 to 1839 and then 10 rue de la Perle from 1840 to 1864. He worked on the Emperor Napoleon III’s apartments gilding at the Louvre Palace. His production was in a rich and fine style, like a Japanese style inkwell, or his Pompeian style dining table centerpieces...

One of a kind canopy bed or day bed made up of two scrolled silver columns and upholsterd with an Italian vintage pure silk brocade. Sourced in a private residence in Venice this 19...

One of the most impressive sideboards we ever had the pleasure of selling in our store. This marvelous French Renaissance revival sideboard with a stunning amount of 12 barley twis...

A carved triptych of emperor Charlemagne. Beautiful triptych sculpture from Flemish origin made in the second quarter 19th Century, circa 1850. It was...

Stunning Late 1800's Antique Italian Renaissance Revival, Carved, Walnut Sideboard! Stunning Antique Sideboard, Italian Renaissance Revival, Carved, Walnut, Late 1800's, 19th Centur...

Antique English Oak Gothic Revival Lectern Bible Stand ~~late 19th century ~~OUTSTANDING Antique English Christian lectern or bible stand~~Carved trefoils and cross~~ 55" tall 22...

A superb antique Victorian Gothic revival solid oak swivel desk chair, made in England and dating from around the 1870-1880 period. This is of outstanding quality, it is beautifully...

Antique French Octagon Sofa Table Carved Oak Barley Twist Louis XIII Renaissance. Direct from France, a fabulous antique French octagon table, with impre...

19th century French Empire cloisonne bronze jewelry casket with blue velvet interior By: unknown Material: bronze, velvet, enamel, metal, copper Technique: gilt, cloisonné, champlevé, cast, molded, metalwork Dimensions: 5 in x 7 in x 6 in Date: late 19th century, circa 1890 Style: Napoleon III, Rococo Revival, Neoclassicism Place of origin: France This richly gilded jewelry...

4 English Gothic Revival-style (19/20th Century) bronze 6 sided hanging lanterns with filigree panels. (PRICED EACH).

A highly unusual and chic pair of circa 1840 French Troubadour 'Gothic' style console side tables having convex isosceles trapezoid or trapezium form rounded breakfront Carrara marbl...

Set of 4 chairs by the renowned manufacturer Maison Krieger from Paris. Probably late 19th century. Made in the style of the Italian Renaissance, as they were very popular, especial...

Very heavy American cast iron mid-19th century Rococo and neoclassical garden chairs. Original version Lyre-back splat with cabriole legs and foliate scrolls. Unmarked, but most likely cast by the Robert Wood foundry...

A refined pair of modest-sized chests of drawers, crafted from elm burl veneer with ebonized wood trim. The chests are distinguished by a typically neoclassical style, highlighted by...

Stunning and small six light chandelier with gilt bronze cherub and swan sculptures. This top quality made, 19th century candle pendant or small chandelier could be perfect for you...

Antique Wooden Carved Hand Painted Neo-Gothic Small Wall Cabinet France 19th Century Pediment Twisted Medicine Cabinet Gothic Revival Truly a beautiful rare and stunning antique hanging cabinet. Late antique 19th-century French gothic style hand carved solid oak one-door small wall cabinet. With a romantic hand painted door with flowers, and inside a nice layout. Twisted columns and is topped by gothic-like spires. And lots of more decorative details! In good authentic antique condition, with some normal traces of use and wear. Please see pictures and video, they are part of the description. This breathtaking antique showpiece...

A monumental set of Renaissance Revival figural leaded stained glass French / double doors of the highest quality. Features a nobleman courting a lady. Both are poised on top of a Do...

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 rare and fine Turkish, Ottoman revival, Canakkale treacle glazed duck ewer dating from the 19th century. Lightly hand potted in a dark, probably terracotta clay the ewer is formed ...

Historistic chandelier Gothic style of Laxenburg so called after the Franzensburg near "Laxenburg Castle," the favored summer-residence of the Austrian Emperor of the house of Habsburg, which was erected between 1801-1836 in the style of an old Gothic castle. The name originates from the then emperor Franz II. It is Neo-Gothic blended with original artefacts. Materials & Techniques Notes: carved limewood, covered with beaten gold.

19th century French Louis XIII needlepoint armchair represents the essence of style, grace and elegance, all rendered by a master sculptor from old-growth white oak, then upholstered...

Important pair of decorative sculptures in white biscuit , featuring two women draped in the Antique style, accompanied by winged putti. One, holding a large sunflower, raises her ar...

19th century English Gothic Revival style oak high back carved and filigree Bishop's throne chair with griffin finials.

A pair of Gothic Revival cast iron hinges, circa 1875 They are painted green one side.

This wonderful 19th century antique English 3 meters tall full-length mirror in dark brown mahogany wood is entirely hand carved with architectural elements recalling a Greek temple. This Greek or Roman revival style arched floor mirror...

A very fine and elegant Regency Satinwood and parcel-gilt double action Harp from the workshop of the famous harp and piano maker Sebastian Erard (1752-1831), decorated in the Grecia...

19th century Giltwood 6-light Italian Chandelier Anonymous Probably Italy; probably 1880s Giltwood Approximate size: 32 (h) x 29 (w) x 29 (d) in. (not including length of the suspe...

Absolutely Stunning 19th Century Antique French Renaissance Revival, Shelves, Carved Walnut Sideboard! Antique Sideboard, French Renaissance Revival, Carved Walnut, 19th C., 1800s!! This antique sideboard is a stunning piece of French Renaissance Revival furniture...

A Belle Époque French buffet a deux corps in a medium, brown-colored walnut. This very beautiful Renaissance-style buffet features exceptional carvings of urns, flowers & foliage tha...

Rare Mid-19th Century Antique carved Oak "Monk's Chair"~~Converts to folding round table~~Renaissance Revival ~~circa 1890 Versatile size When used as table~~29.5" tall x 27...