European Decorative Art

Beautiful decorative plates designed by renowned Danish artist Bjorn Wiinblad for Rosenthal. Germany. 1970s. Porcelain plates from the end of the 20th century based on the fair...

A charming antique French faience Quimper scalloped plate, circa 1920. Maker's mark on reverse. This lovely plate features a finely detailed hand painted sweet Breton couple in tradi...

Fantastic original 1950/1960s Montreux Travel Advertising poster featuring a stunning design by French artist Raymond Brenot, issued to promote the...

Sotheby's Art at Auction 1997-1998 Edited by Emma Lawson. Published by Sotheby's, London, 1997. 1st Ed hardcover with dust jacket. This annual reference...

Great image of toucans Unframed. It gives you the option of perhaps making a set up using your own choice of frames. Lithograph after Cpt. brown with original hand color. Publishe...

Very rare and large ceramic bowl or wall decor from the famous Danish ceramic workshop Michael Andersen & Søn (MA&S) on the island of Bornholm. Made circa 1950s or 1960s. The Hand Painted decor resembles the style of Marianne Starck but is most likely not by her as the piece doesn't show her signature. We suppose it's by Gerd Hiort Petersen...

A wonderful set of four antique Dutch ‘Delft’ style manganese tiles hand decorated with biblical scenes probably originating from Rotterdam and dating f...

Wonderful image by Sutton Palmer Tipped in plate. On card Lithograph. Published C.1920 The measurement given is the card size not the actual printed image.

Very rare late 19th Century, "The Original Holden's Mannikins", original vintage theatrical Vaudeville play linen backed one-sheet movie poster (one sheet; measures 28" x 42", actual poster size 27" x 41". Early Vaudeville Marionette, Automata and Mannequin poster with vibrant colors, another one can't be found. The playbill poster features vibrant illustrations of Clowns, Skeletons, Royalty, Cowboys, Mimes, Nurses, Fairies... This poster has an address for a theatre in St. Martin Paris, France. From the book; The Holdens: Monarchs of the Marionette Theatre by John McCormick The Holden family were the most celebrated English marionette performers of the nineteenth century. The trajectory of the Holdens provides a vivid example of developments in entertainment across the century. Having begun on the fairgrounds, they moved on to large halls, theatres and music halls. At the height of their popularity, when they had two main companies in operation, the Holdens were even better known abroad than at home. Their name was almost synonymous with puppetry, and they were credited with every innovation in marionette theatre. Then, with the advent of cinema, their business suffered a rapid decline. Based on extensive archival research and lavishly illustrated with photographs, sketches, diagrams, playbills and posters, The Holdens: Monarchs of the Marionette Theatre explains why the Holden shows had such impact and were so frequently imitated. Below are two newspaper reviews from 1903 and 1907. Holdin’s Mannkins Location: New York City Theater: New York Date: 1903 Type: Marionette, Automata and Manikin This is another of Mr. Keith’s acts and it is safe to say that we have never seen marionettes in this country before. The general fitting up of the act is great—had a fine stage with a full set of scenery, and everything is first class order—strongly, and it is hardly possible to conceive how people can produce the effects that they do by the manipulation of strings. Every move made by these little figures is absolutely natural and life-like, and the audience were quick to appreciate this fact and were most hearty in their applause. The act is closed with a transformation feature which was very pretty and attractive. It is an exceptionally strong turn throughout. 24 minutes, full stage. Source: University of Iowa, Keith-Albee Vaudeville Collection, Manager Reports, 2 September 1902-3 September 1903. Holden’s Manikins Location: Philadelphia Theater: Keith's Date: 1907 Type: Marionette, Automata and Manikin 22 min, F.S., 2 shows. On at 8:04. This is a children’s feature. I doubt whether it would be so well received at any other than about Christmas time, but it quite won the house. The manikins performs various simple stunts, such as dancing, Punch and Judy comedy, etc. The finish of the act was a spectacular feature without moving figures, which did not run as smoothly as it should have done. However, the act will certainly please the little folks and it cannot be conceived how the wooden manikins can be manipulated so life-like. Holden got a good hand on his appearance after the act...

19th Century English Majolica Leaves & Pink Flowers Plate.

"Rondo" contemporary mirror by Zieta Original Zieta mirror, delivered with certificate. Collection: TRANSITIONS, Finish: DARK MATTER Material: Polished stainless steel Finish: Dark...

This set of four original antique mycology prints is a botanical treasure. Each print is a meticulous depiction of various mushrooms and other fungi, showcasing their intricate detai...

Vintage Red Deer Trophy on Large Carved Plaque, Germany A large 6 pointer roe deer (Capreolus capreolus) trophy from the Black Forest mounted on a carved plaque. The trophy was shot...

French Majolica bird with grapes plate signed Sarreguemines, circa 1880. Very rare yellow background,

Mid-Century Danish Studio Pottery Wall Plaque by Marianne Stark for Michael Andersen, 1960s, in Very Good conditions. Designed 1960 to 1969 This piece has an attribution mark, I am s...

French Majolica cicada wall pocket signed Vallauris from Provence. Height / 5.3 inches.

Dutch (possibly 18th century) faience earthenware square mulberry tile with Biblical scene.        

An antique 19th-century Western European hand-carved lava rock bas-relief plaque. The piece represents Venus on a swan-drawn chariot. Unsigned. Black velvet mat, wooden frame. Collec...

Lovely Georgian giltwood picture frame Carved pine with shallow gesso and gilt Original patina Internally or sight measures 19.25 x 24 inches. 48.5 x 61 cm Free UK shipping

Great images of parakeet Unframed. Lithographs after Cpt. Brown with original hand color. Published, 1847. The measurement is for 1 print Free shipping

A late 18th Century, antique Swedish Gustavian rectangular wall mirror with its original mirrored glass and blue color paint, made of hand crafted gilded Pinewood, in good condition....

'Girl Playing Guitar' Mid-Century Ceramic Wall Art C1950. Hand-painted, textured ceramic with strong colours and a high gloss glaze. Artist unknown. Framed and ready to hang. In ve...

Fantastic retro design on this 1971 (first-year-of-release in Poland) Polish film poster for American action thriller classic Bullitt Staring Steve McQueen, Robert Vaughn, and Jacque...

18th Century French carnation plate , Manufacture of Sceaux. Border déchiqueté. Sceaux ceramics are presented at The Getty Museum and The MET. The ceramic manufactory at Sceaux, outs...

Majolica strawberries plate Orchies, circa 1890.

Vladimír David for Jihokera Bechyne Zodiac Tile Scales / Libra. Czech Republic, mid 20th century. This is a great mid-century studio pottery tile depicting the Zodiac sign of th...

Leonard Thorpe "Nelson's Column" original oil painting, circa 1960 Nelson's Column is a monument in Trafalgar Square in the City of Westminster, Centra...

Wonderful print of St Anthony of Padua Illuminated Chromolithograph Published circa 1880 Unframed. Foxing to the margin Free shipping The me...

We adore this original Polish Circus/Cyrk poster of two dogs balancing a ball. Fabulous design by Jacek Neugebauer. The ‘Cyrk” circus poster in Poland appeared for the first time ...

Paul Holsby, 1962 Color lithograph The work is signed by the artist and dated (pencil) Work dimensions 26/30 The work is framed Paul Holsby was born in 19...

Very Rare Colorful 19th Century French Majolica strawberries wall platter signed Longchamp terre de fer. The fruits are in high relief with the leaves and branches. 11.5 inches diame...

French Majolica bird with holly plate signed Sarreguemines, circa 1880.

Stunning and completely original, antique oak grandfather or lantern clock, circa 1750. This very old grandfather clock is one of the tallest w...

A very lovely pair of late 19th century painted decorative wall panels, Italian circa 1900. Charming romantic scenes painted on dense paper. These panels will be a delightful ornam...

19th Century French Faience Water Lily Platter Creil & Montereau. 11.5 inches diameter.

19th-Century Victorian Majolica sunflower plate, inspired by Wedgwood.

Wonderful copper-plate engraving after Jan Luyken Published by Marten Schagen, Amsterdam. 1724 Text on verso The measurement given is the paper size.

Nice map of Rome Drawn and engraved by J.Dower Published by Orr & Smith. C.1835 Unframed. Free shipping

Majolica oyster plate Sarreguemines, circa 1930.

A stylish Art Deco French Longwy majolica fish plate, circa 1930. Maker's mark on reverse. It's a rare color, white with lovely soft purple lilac accents, and it displays beautifully...

Wall Decoration with Marine Nautical Wall Plates, Terracotta, Ceramic, Glazed Set of four glazed ceramic wall plates with sailing ships and marine decorations, Spain, 1970s. Hand-painted terracotta wall...

Great images of a zebra and a Mongolian ass Unframed. Lithographs after Cpt. Brown with original hand color. Published, 1847. The measurement is for 1 print Free shipping

Wonderful print of St Genevieve Illuminated Chromolithograph Published circa 1880 Unframed. Foxing to the margin Free shipping The measurement is the paper size

Fresque en céramique aux couleurs éclatantes, se compose de 12 carreaux 15cmx15cm numérotés en superbe état. Ils ne sont pas collés, libre choix de pouvoir admirer cette merveille qu...

Wonderful Italian Empire original giltwood frame with two rows of carving Early 19th century Internal measurements cm 58.5 x 47 Every item of our Gallery, upon request, is accompan...

Large decorative wall panel consisting of 9 early 20th century Swedish herbariums in bespoke hand painted wooden frames. The herbariums ar...

Antique Print of the Opah (Lampris guttatus) – Hand-Colored French Lithograph, 1845 This stunning hand-colored lithograph features Le Lampris Tacheté (Lampris guttatus), known in En...

Pair of Late 19th Century Natural History Pressed Seaweeds, house in their original water gilt frames, small signature to both. France, Circa 1890.

The product is a pair of antique iron and mirrored wall panels, perfect for adding a touch of charm and sophistication to any room in your home. These decorative panels can be used ...

A stylish Art Deco French Longwy majolica fish plate, circa 1930. Maker's mark on reverse. It's a rare color, white with lovely soft purple lilac accents, and it displays beautifully...

Set of 2 Wallplates with Hunting Scene Additional information: Dimensions: 34 W x 34 H cm Country of origin: France Condition: In good condition

A 19th century hammered brass dish of unusual size in the historical style representing a battle scene between Romans and Barbarians, in the middle fighting generals on horseback, th...

Oil on Canvas by José Herrera (Spanish, 1943-). Signed and dated 1973. Original stainless steel frame. A beautiful piece.

French Majolica orchid plate signed Keller and Guerin saint clement, circa 1900.

Majolica cherries plate Keller & Guerin Saint Clément, circa 1900.    

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...

French Majolica Flowers Plate Circa 1890. Decorated with pink & purple flowers.

Wonderful print of St Susanna of Eleutheropolis Illuminated Chromolithograph Published circa 1880 Unframed. Free shipping The measurement is the paper size

18th Century French carnation plate , Manufacture of Sceaux. Border déchiqueté. Sceaux ceramics are presented at The Getty Museum and The MET. The ceramic manufactory at Sceaux, outs...

Fantastic original 1970s Spanish film poster for a Pink Panther Cinematic Marathon! Great artwork. Lovely colours and a beautifully illustrated poster. This vintage film poster was ...