Revival Furniture

This exquisite 19th-century American Greek Revival carved wood Ionic capital showcases the timeless elegance of classical architecture. It features characteristic scrolled volutes, i...

Pair of 19th-Century Italian Polychrome and Parcel-Gilt Altar Prickets A graceful pair of 19th-century Italian altar prickets, hand-carved in wood with their original polychrome and ...

Stunning, one of a kind bronze corpus of Christ. The meaning of this antique sculpture obviously needs no explanation. However, not everybody looks at the corpus of Christ with the same ideas and emotions. And each individual may also have different emotions and ideas depending on his or her state of mind at a certain moment in the day or at a certain time in his or her life. Besides that, every artist/sculptor may also have his or her own ideas of what he or she is trying to express and communicate. What is important to us, is that a work of religious art speaks to us. If it speaks to us then almost always there will also be someone else who sees the beauty, deeper meaning, quality, style and uniqueness. This particular corpus stands out for its exceptional physical details and its painful facial features. We also rarely seen an antique Christ sculpture...

19th Century French Renaissance Open Bookcase ~ Bibliotheque is a majestic piece, measuring eight feet tall! Hand-crafted from solid oak and topped with bold crown molding, it boast...

Antique Bessarabian Kilims are very rarely found in large sizes, as most were woven in an almost standard 6 x 9 feet format. This stunning example maintains the wonderful palette and...

Masterfully carved Italian Vanitas bust in solid marble from late 19th century. White Carrara marble skull combined with a red Rosso Imperiale marble Ro...

Antique Italian Renaissance center (centre) or side table. Features an octagonal frame carved from walnut with a pierced foliate apron over four acanthus carved downswept legs leadin...

A tall and imposing Wilhelm II Vitrine for displaying books, China and/or collectibles in a warm amber-toned oak, with two glass-paneled doors and a carved ...

Beautifully Carved Antique French Oak Cabinet with Drawer and Key~~c. 1890s Highly carved lion's head door with upper drawer and three interior adjustable/removable shelves...

A Fine and Elaborate German 19th Century Renaissance Revival Style Britannia Silver Plated Beer-Tankard by The Württembergische Metallwarenfabrik (WMF). T...

France / 1850 / cabinet / oak / neo-gothic / antique Oak neo-gothic cabinet/ highboard with 2 doors and 2 large drawers with beautiful original brass hardware, hand crafted in Franc...

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

A most distinctive antique, circa 1870, Portuguese Renaissance Revival carved walnut trestle table with beautifully aged warm, rich dark patina! Born in Portugal during the second h...

A rare Continental Italian Renaissance Revival oak and leather sideboard with warm, rich patina. Born in the early 19th century, exquisitely hand-crafted and exceptionally execut...

A pair of 19th-century Meissen porcelain figurines in Rococo Revival style, depicting a romantic couple in floral costumes. These finely detailed polychrome porcelain figures captur...

19th Century French Renaissance Revival Hunt Buffet is an incredible example of the grandeur of the Renaissance Revival that captivated Europe during the last quarter of the 1800s. ...

19th Century French Renaissance Hunt Buffet ~ Credenza is a remarkable feat of design and cabinetmaking intended for a special client, indeed! Hand-crafted from solid old-growth oak...

Large and high quality carved antique sculpture of Joseph holding the child Jesus. If you are looking for a great value for money, work of religious art then this quality carved church relic could be gracing your home or monastery or house of prayer soon. This may not have been carved out of the most expensive or hard woodtype, but that is not what this antique is about. This striking and meaningful sculpture is all about the natural manner in which both the little boy Jesus and Saint Joseph have been hand-carved out of wood and how an accomplished sculptor clearly has spent a whole lot of time, focus and dedication to get the details of this large and meaningful sculpture very right. In this case, the hands and feet, the curly hair, the serene facial expressions, the perfectly natural body postures AND the perfect draping of the cloths are the most eye-catching details. Ones that most mortals would never be able to create like this and it will have taken this skilled artisan weeks rather than days to create. We believe that this unique antique is made of basswood or pine and it has been hand patinated (original). This was probably done to make the entire sculpure look more warm and calm (no wood grains taking away anything from the beautiful details we described). This meaningful and quality crafted work of religious art is ready for you to enjoy and, to us, it breathes a holy serenity and beauty that will never fail to impress. No matter where you decide to have it on display, this ecclesiastical antique will never fail to impress and if you already have a place in mind for 'them' then maybe you should be their next custodian. Mind you, our price for this hand carved antique church statue...

A spectacular & monumental antique carved oak hall bench/seat, by R. J. Horner & Co, New York, circa 1890. The hall seat is very finely carved from quarter-sawn oak and having a tall arched top mirror back. The top of hall seat having an elaborately carved top with a central substantial finial carved as a rose bowl with flowers & leaves and flanked by a pair of carved griffins connected with a floral frieze and garlands and foliate. The mirror is bordered with egg & dart carving and the outside edge of the hall bench with a border of lapped chevron carving. Below the mirror is carved with scrolling foliate and a pair of carved acanthus...

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

Eugène Frager, Meynard Manufacture (cabinetmaker), Ferdinand Barbedienne (bronze manufacturer), Louis-Constant Sevin (ornemanist) - Exceptional Neo-Renaissance style dining room set ...

This is a fantastic and monumental carved walnut paint decorated console table. The table features a gorgeous verdi marble slab on top of a mythical maiden sphinx base with cabachon ...

This exquisite Italian 19th-century centre table features a Florentine carved giltwood frame and stunning Pietra dura marble inlay top. The or...

An exquisite French 19th century giltwood armchair. This one-of-a-kind piece is the perfect bridge between new and old school styles, bl...

Display sideboard : height : 285 cm (112 in.) ; width : 215 cm (84,6 in) ; depth : 70 cm (27,5 in.) Table (without extension) : height : 76 cm (29,9 in.) ; width : 170 cm (66,9 in.) ; depth : 120 cm (47,2 in.) / Extensions (x 2) : width : 45 cm (17,7 in.) ; depth : 120 cm (47,2 in.) Dresser : height : 180 cm (70,8 in.) ; width : 215 cm (84,6 in.) ; Depth : 65 cm (25,6 in.) Chairs : height : 114 cm (44,8 in.) ; width : 48 cm (18,9 in.) ; depth : 45 cm (17,7 in.) Woodwork attributed to Maison Meynard (1808-1889), Meynard Fils; ormolu mounting by Ferdinand Barbedienne (1810-1892) from drawing by Louis-Constant Sévin...

Antique Renaissance Revival Walnut, Burl & Needlepoint Parlor Chairs, C1890. Measures - 40'' H x 32'' W x 26'' D; seat height 17" An antique pair of Renaissance Revival parlor cha...

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...

Derived from the Arabic 'khayam' (tent), the Egyptian khedival khayamiya are elaborately hand-stitched appliquè cotton hangings, woven in the golden period between 1867 and 1914. Wha...

A monumental antique Victorian Gothic Revival carved oak church altar / synagogue lectern / book stand podium. Hand-crafted in the 19th century, having a sloped book-rest to the top...

19th Century Italian Painting of The Virgin of the Fish done in the Purisimo Style. Revivalist piece of a Raphael Painting. The Virgin Mary & baby Jesus with Saint Jerome and Arc Angel...

This exquisite antique French bench showcases the opulence of Renaissance Revival craftsmanship, featuring intricate hand-carved detailing throughout. The high back is adorned with o...

Cottagecore aesthetic antique 19th century parcel gilt walnut Gothic Revival wall mirror Circa 1870 The intricate Gothic Revival details of this wall mirror epitomize the Cottagecore...

A late 19th century brasswork repoussé planter with animal head ring handles and paw feet.

19th century Spanish revival high back armchair with red velvet upholstery.

Museum quality, 19th century coat rack with as many as eleven stunning bronze hooks. Only very rarely will you come across an antique that is as perfect and original as this large s...

This impressive chandelier is a fine example of 19th-century French wrought iron craftsmanship. Entirely made of steel, it features six elegantly twisted arms ending in drip pans wit...

Alabaster. Signed Lapini Firenez on base. 36 7/8" h x 18" w x 13 3/4" d. Cesare Lapini (1848 – after 1890) was an Italian sculptor, mainly active in Florence. Lapini sculpted both ...

Late Victorian Chinoiserie decorated Letter rack Black Laquered Background with gold detail Depicting Figures bedside river scenes foliage & leaf decoration urn with flowers, Sitting...

19th Century Flemish Cabinet ~ Confiturier features tailored lines accentuated by the top surface which is surrounded by flared out, then flared in molding for a dominant presence. ...

Expertly crafted and exuding timeless elegance, this 19th century oak armchair is a stunning addition to any living space. Its intricate carvings and tooled leather upholstery showca...

This pair of late 19th century chairs is absolutely gorgeous. The carving, the patina, the time-worn gilded finish revealing the Italian red clay bole ground is a charming touch. The...

A boxed single maker set of Antique Sterling Silver Fiddle, Thread & Shell Pattern Flatware, hallmarked in London in 1897 and 1898 by Jackson & Fullerton. Sold with modern Old En...

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

This is a signed Gustave Herter sideboard (of Herter Brothers later on) in the Renaissance revival style of the middle of the 1800s during the gilded age. The sideboard is so magnifi...

A very fine pair of French 19th century Napoleon III Empire style patinated-bronze and gilt-bronze Mounted Allegorical covered Urn vases lamps in the manner of Pierre-Philippe Thomir...

Exquisite Renaissance Revival Giltwood Griffin Bracket Shelf This magnificent large shelf originates from the British Renaissance Revival period and is exquisitely finished in gesso...

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...

George Smith and Co. The Sun Foundry, Glasgow, attributed. A Gothic Revival cast iron gate with both side railings in the style of Dr C Dresser with all-over Geometric decoration. Re...

A Putto with an Imp like expression on his face stands holding an urn as he pours a liquid, perhaps wine, from it. In the original gray paint (worn with losses). The vessel is closed...

This is an elegant late 19th century Paris porcelain fretwork bowl. This bowl features hand painted floral decoration around the edge and 22 karat gold gilding in the glaze. The bowl...

19th century French colonial cabinet with mother-of-pearl inlay along all panels. Hexagonal mosaic along door trim, with floral and butterfly motif throughou...

Elegant pair of Neo-Renaissance or Henri II style chairs in leather and wood dating from the 19th century. The wooden structure is carved with flutes and volutes. Pieces of leather f...

French iron lantern with colorful stained glass circa 1880 (Napoleon III) Total with the chain / 33", Lantern / H: 26", 10.5" by 10.5" Wired for US.     

American renaissance carved oak desk/library table, in the manner of R.J. Horner, New York. Top with foliate carved border. Center carved lion's mask on pull out single draw. Turned ...

Vegetable bowl with lid, Morro Castle, Havana, Cuba. Earthenware. Sargadelos, 19th century. It has minor flaws. Vegetable bowl with handles and a lid on which a landscape can be se...

A rare and magnificent architectural ecclesiastical iron and bronze altar railing. Created in France in the 19th century, commissioned for a Victorian er...

19th Century French Barley Twist Dessert Buffet makes a great accompaniment to any room, and has the added feature of a concealed marble top! Originally intended to adorn the room and opened to serve desserts or cheeses, the top stays open thanks to swing-out supports that also support a shallow...

Pair of French Greek Revival bronze vases cast with figures & with handles cast with bearded masks on a stepped black marble base (late 19th Cent) (PRICED AS Pair)

A large bronze classical Roman figure of Mercury, after Giambologna (1529 1608), holding the caduceus & wearing his winged helmet, standing on one foot above the mask of Boreus, the ...

Pre-owned goods are exempt from import duties for U.S. customers. Therefore, no import tariffs will be applicable to your purchase. Meissen, Germany. A pair of large antique Blue ...