Hand-Crafted Decorative Art

Frame Dimensions: Height: 10 1/2 in Width: 8 1/2 in Depth: 1 1/2 in Plaque Dimensions: Height: 2 3/4 in Width: 2 1/4 in This framed antique 19th century porcelain plaque of a gyps...

Decorate an office or a study with this colorful suite of antique wall decorations. Crafted in Italy circa 1870, each panel is framed and features an hand painted coat of arms...

Rare extra-large (cm 59 x 85) antique watercolour of capital from a collection of architectural details of Florence monuments painted in Italy in the middle of 19th Century. Black ma...

Majestic entrance or fireplace wall mirror with shelf. When we first saw this stunning antique mirror we immediately knew we had to have it. Also, because we felt this rare size an...

Decorative original antique door. The side of the door that was originally visible to the outside, is made of solid oak and the other side of th...

La Gondole D’amour (The Gondola of Love) From our Cermics collection, we are delighted to offer this KPM La Gondole D’amour Porcelain Plaque. The plaque of rectangular form with a g...

Beautiful custom framed antique herbarium floral specimens, collected circa 1890. Handwritten names in lovely Swedish script. Specimens include wild carrot, perennial toothbrush plan...

Wimbledon-Furniture Wimbledon-Furniture is delighted to offer for sale this stunning set of four original 19th century Old Master drawings by F Mazzoli Please note the delivery...

Beautiful custom framed antique herbarium floral specimens, collected circa 1890. Handwritten names in lovely Swedish script. Specimens include cat's foot, wild oat, and others. Pres...

Hand carved, ecclesiastical wall sculpture from the mid 1800s. With antique church relics being one of our specialities, we have seen the Virgin...

Portugal, Late 19th Century Ceramic hanging platter. Ø 24 x D 4 cm

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...

Fine Art Deco tile tableau consisting of 10 tiles, made at Manufactures Céramiques d'Hemixem Gilliot & Cie, Hemiksem around 1925. This panel, depicting a de...

A large framed late 19th century herbarium - a lovely strong example dated 1882 in an antique French painted frame Expertly double mounted and fra...

Vellum land indenture, 1811, London. Parties mentioned include Richard Phillip Higham, Henry Parry, and John Alliston. The document contains two seals. The blue seal is likely a scrivener's seal. Scriveners were granted authority to draft contracts, wills, and documents similar to deeds that conveyed assets from one party to another. The red wax seal...

The Bible story of baby Moses drawn from the River Nile made with silkwork and chenille. Moses is gently taken from a basket made of reeds while his sister Miriam watches over him. ...

A rare and visually striking framed antique European embroidered silk panel. Exquisitely hand-crafted in Continental Europe in the 19th ...

Portugal, 19th Century Ceramic hanging platter. Ø 27 x D 4 cm

A are pair of 19th Century Chinese Famille Rose Porcelain Plaques in Carved Wood Frames. Measures 12.5" in width, 24.25 in height. Great antique condition. Finely carved wood frames.

Portugal, 19th Century Ceramic hanging platter. Ø 37 x D 8 cm

Antique monumental Asian Turkish tinned copper round metal tray. Large heavy Persian Islamic style tinned copper tray, late 19th century. A large-scale 19th century Asian Moorish Turkish Persian tin copper round tray platter. Antique Turkish Moorish tinned copper circular metal decorative tray...

19th Century Adirondack painting of mixed media painted, molded portrait of a warrior. Paper mache with pinecone frame. Came from an Adirondack lodge in...

Framed, signed and dated.

A fine pair framed silk Stevengraphs, one titled The Present Time and the other The Good Old Days, by Thomas Stevens and dating from 1875. The rectangular silk sewn panels portray t...

European Hinter Glass Painted Portraits of Nobility in Burl Wood Frames. These small charming burl wood framed portraits of Wolfe and Lafayette could be English or French. They are ...

This mid 19th century cork work shows a romantic scene of an ancient castle in a charming diorama. The castle is perched atop a promontory overlooking a river, complete with foreste...

19th century, one of a kind, oil painting in a more modern, golden colored wooden frame. We know that in the 19th century many renowned European artists went on 'study trips' to all parts of the globe and many of them loved the totally different world they would find there. They were so inspired by what they witnessed in these totally different cultures that some of them created their best ever work in that period. This beautiful painting has a lot going for it and we especially love the colors and the lightness of this Arab or possibly North African composition. Besides that, this wonderful painting also tells a story. One of a traveling man having to protect his spous against, what look to be, two desert robbers on horses. You can imagine the fear that this would give a woman with a small child, being so far away from everything and literally in the middle of nowhere. Many of the details are incredibly well painted, but we particularly love the way the stunning camel is portrayed, but also the clothes of the people and the serene face of the small child are marvelous details to look at. Unfortunately we don't know who painted this work of beauty, but we would not be surprised if there are connoisseurs out there that do. One of the most difficult things in interior design, we feel, is decorating the walls. We are no specialist in selling antique paintings, but whenever we get a chance to purchase a beautiful hand-painted oil on canvas from the Victorian era then we always try to acquire it. Especially when the details and colors are as good and vibrant as in this 19th century painting. The fact that there is some type of 'action' going on too lifts it above the average. This Arab subject matter also is very rare and besides the folds in the painting (where the inner edges of the frame underneith are), this antique work of art truly is in superb condition and a gem to behold. To us, this is the perfect painting for an eclectic interior or for anyone with an Arab or Moroccan Style (inspired) interior. If you like the look and feel of this fine quality, antique Victorian era painting...

Vintage Shooting Lodge Target Plaque 1883. A rare and beautiful wooden shooting target plaque with inscriptions. This rare kings plaque was issued by a s...

This hand-crafted cork work shows a romantic scene of Carisbrooke Castle on the Isle of Wight in a charming diorama. The castle is perched atop a mountain complete with a long prot...

This hand crafted cork work shows a romantic scene of an ancient castle in a charming diorama. The castle is perched atop a promontory overlooking a river, complete with forested te...

France, 19th Century. Large ceramic platter from Moustier. Measures: L 67 x W 34 x H 5 cm.  

Step back in time with our Late 19th Century painting, a treasure in good condition and a testament to the artistry of the past. Signed in the bottom corner, this piece carries the a...

Germany, early 19th Century Ceramic hanging platter from Kellinghusen. H 4.5 x Ø 23 cm

An extraordinary Original Lithograph of Renaissance Medici Pope, Leo X (1474-1521). Beautiful hand crafted Biedermeier Frame. We believe it is from the 1860s. Viewable picture size ...

An extraordinary Original Lithograph of the a Lady. Signed by Artist. Beautiful hand crafted gilded Biedermeier Frame. We believe it is from the 1860s. Viewable picture size is approx. 6.13" high and 5.25" wide. A nice addition to any room or library. Information about the artist: It was framed and sold by the Royal Bavarian art...

An extraordinary Original Lithograph of the a Lady. Signed by Artist. Beautiful hand crafted gilded Biedermeier Frame. We believe it is from the 1860s. Viewable picture size is appr...

An extraordinary Original Lithograph of the a Lady. Beautiful hand crafted Biedermeier Frame. We believe it is from the 1860s. Viewable picture size is approx. 8.88" high and 6.5" w...

French three panel decorative painted canvas folding screen with dogs playing in landscape scenes, perched musical monkeys, and foliage motif. Early 19th century.

An extraordinary Original stealing engraving of the royal gallery in Munich and Schleissheim, hand-colored. Beautiful hand crafted gilded Frame. Dated at the backside with a label fr...

The shepherdess is lovely. She is seated near her flock under the shade of a leafy tree, wearing a green and white dress and a hat with red trim....

Framed, dated and signed.

Unique and large Victorian rifle rack with width open box at the bottom. This highly decorative and good condition gun rack for wall mounting could look great above your fireplace, but also in a private library, home office or trophy room etc. The beautifully patinated, light nutwood combined with the four strong and all handcrafted brass weapon holders make this victorian antique hunting piece an impressive sight to see. If you are not into hunting, but you simply love the great look of this finest quality rack then you could also use this stylish antique for various other purposes. You could, for example, also have rare swords...

By Jane Peacock age 8. With a Friendship poem along with embroidered birds, squirrels, and a charming house in the country with a dog in the yard. A pretty floral vine border on all ...

This is a traditional Japanese hat. Japanese people wear hats like this to protect their heads from the hot sun. Farmers and people who traveled long dista...

A beautiful antique pub scene themed wall decoration plate or sign. This decorative item would make a beautiful ornament on each wall. Made in the 1890s it i...

By S. Norman. With a now brown toned background and overall embroidery with birds, trees, flower baskets and architecture. With an English newspaper on the back. sight 14 3/4 x 12"...

One of a kind and marvelously hand carved wall sculpture, mid-1800s. For the collectors of only the rarest and the most original. Over the decades we have seen some beautifully cr...

Decorate a kitchen wall with this French copper bassinoire, or bed warmer. Crafted in France circa 1880, the piece is dressed with a wooden handle, and features a copper vessel with ...

A red-yellow, antique French still life oil on canvas painting depicting a working table with a dark-blue vase with flowers, painted by Eugène Henri Cauchois in a hand carved, origin...

Two beautiful antique and light friezes in gilded wood: one is cm. 40x16,5 x depth 3. The other one is cm. 36 x 30,5 x depth 3,5. To put where you want.

Framed French Louis Vuitton Art Print in an Italian 19th Century Frame Louis Vuitton Print from Paris, France, framed in a one of a kind circ...

A pink-white, antique French still life oil on canvas painting depicting a working table with a yellow teapot vase with flowers, painted by Eugène Henri ...

Unknown Academy Student 19th C Drawing, pencil on paper.

I would like to introduce a very interesting item. This item is a Japanese farming tool made from the Meiji period to the Taisho period (1868-1920). This funnel was originally used...

A French 19th century Louis XV style mirror, carved in Pinewood with Gesso finish and gilded, in good condition. The frame has the typical Rocaille décor. The antique mirror has its ...

A blue-brown, antique Swedish oil on canvas painting of a sunny day at the Piazza Barberini, in Rome, Italy painted by Gustaf Wilhelm Palm in a hand carved original gilded wooden fra...

Antique Handpainted Advertising Poster for a Hemoglobin Fabrication in Munich A large antique handpainted advertising poster for a hemoglobin fabrication in the 19th century in Muni...

Antique book printing / engraving plate - featuring stems of Geranium and Currant plants with titles - unsigned - walnut frame - country of origin unknown - 19th century. Excellent antique condition - no loss - no damage - no restoration - oxidation of the metal plate in areas - signs of age and use. Printing plate...