Hand-Crafted Wall Decorations

Vintage nail wall sculpture features a triangular brutalist design of a fish surrounded by fanned out pattern of individual spikes. The sculpture is equipped with a round hanger and...

Antique ship vessel handle wheel.

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...

Elevate your interior with this stunning set of four antique zebra skin frames. Each piece showcases the unique beauty and texture of genuine zebra hide, beautifully framed in a clas...

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A wonderful and impressive pair antique Dutch Delft tin glazed hand painted blue and white art pottery wall plates dating from the first half of the 1...

This Blanket is an original Ottoman tapestry with beautiful gold weavings and an intricate crochet trim which is approximately 2.5cm wide. The design features floral motives and arabic scripture and most remarkably the ?ugrawat (modern spelling: tugra), the symbol specific to the ottoman sultan...

Functioning wall clock, model design Adolf Loos, circa 1920, white enameled octagonal metal housing, clear glass in nickel binding (flap missing), black hands and numbers, signs of u...

Solid walnut shelving unit that hangs from wall. Hand selected premium hardwood finished in durable natural hard wax/ oil finish. The vertical frames attach to the wall and have slot...

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The award nominated Franklin Shelf is a 90 degree corner shelf. This unique design allows for maximum storage space, while occupying a very small area. ...

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This is an Oil on Canvas Portrait of Jesus Christ by Oscar Colón Delgado (1889 - 1968 ). It depicts a profiled face of the Son of God with his large and expressive eyes looking up sh...

Handcrafted and very stylish pair of midcentury made alabaster wall lights. This exquisite pair of wall sconces was handcrafted in Europe during the mid-late 20th century, circa the...

Large Pichhavai Hindu Painting of Radha and Krishna with Female Gopis. Pichhwai Hindu Painting of Krishna and Radha framed under glass. Kris...

Largest collection of Portuguese tiles in the world 17th Century Portuguese tile panel. Restored 56cm x 56cm 14cm x 14cm tiles 17th Century Shortly afterwards, these plain white ti...

A 1960s setting of a Brutalist Wall Sculpture in metal and aluminum, made by a Belgium Unknown Artist. The quarter-circle design allows for many pattern opti...

Vintage Shooting Lodge Target Plaque dated 1929. A rare and beautiful wooden shooting target plaque with inscriptions. This rare kings plaque was issued by a shooting club...

19th century, French hand-hammered plaque historicizing Vercingetorix receiving an award of recognition, circa 1850. Vercingetorix (82-46 BCE) was a French Gallic chieftain who ral...

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Handcrafted Ken Edwards ceramic plate Tonala Mexico Folk Art Pottery. Vintage Ken Edwards Mexican ceramic birds and flowers from Tonala Pottery. ...

Exceptional Danish Mid-Century Modern piece of ceramic artistry. Handmade wall plaque made of six glazed tiles (each 15x15 cm) in white, dark pine and forest green colors, all handpa...

A late 18th Century, antique Swedish Gustavian wall mirror made of hand crafted Pinewood with its original mirrored glass, in good condit...

A rare collection of original black and white photographs purchased in 1996 that were printed in 1996. They were custom ordered and only maximum of 3 were made. The photographs are beautifully printed. Pat Milo was a “artistic” male nude/physique photographer. He was more about making a beautiful photograph, been shooting men mood for the sake of being nude. Truly one of our favorite photographers we have collected. Photo: 8 x 10 with white matt. 16 x 20 black frame. Model: Dan Touemshay / Series 269 Biographical Note: Pat Milo (James Patrick) was born in 1911 into a large, Irish Catholic...

The title of this work is "Evolution" in this panel the artist Lodovico Cupioli represented a river in his particular vision. From the primordial Era after the game of time, the orig...

A lovely pair of vintage Italian giltwood and gesso wall brackets or shelves from Florence, Italy, circa 1950. These stylish brackets have a hand carved scrolling acanthus leaf desig...

Antique Japanese wall panel black lacquered mother of pearl Verry good condition

18th century Italian gold gilded tabernacle door adorned with naturally forming baroque pearls. This door once belonged on a tabernacle which housed the eucharist in a church. In the...

18th Century Italian Tabernacle Door Fragment. Unique piece that can go anywhere. Perfect for a sculpture on the wall in a hallway or niche.

Set of Two Tall Italian Gilt Wood Wall Decorations. This set is impressive as wall sculptures, featuring small 5 shelves, in a living or dining room setting. Certainly a focal point ...

Amazingly wall crucifix with hand carved corpus from Kunstwerkstätten der Abtei Maria Laach. Over the decades we have sold a number of unique and interest...

So proud to offer this Rare complete set of all 12 signs of the zodiac. Each piece is signed and numbered. The artist is Arne Peterson. We are not sure i...

A Mid-19th Century, antique rectangular French wall relief with a garland and decorated with fruits and foliage hand carved in limestone, in good condition. Authentic and naturally a...

A vintage petit wall relief made of French plaster, inspired from a 18th Century French original relief featuring four cherubim and surrounded by a plaster frame, in good condition. ...

Fierce monumental sized lions head sculpture featuring a glazed ceramic finish. The Italian majolica is beautifully hand-crafted with intricate details and vibrant colors. The large ...

Gothic Revival 'sermon on the mount' wall plaque with Jesus teaching. This large size work of religious art depicts Jesus and He is surrounded b...

Fabulous abstract depiction of a Japanese Samurai in ceramic tile, 12 pcs framed and matted. Beautiful tiles, in absolute stunning colors with exquisite lines. In excellent vintage c...

Under the blanket project, Naomi Clark creates what she titles quilt paintings. She breathes new life into old wool and cotton camping blankets culled f...

Large Balinese art painting in oil on fabric with flowers and birds. Frame in green lacquered wood. Signed by the author: J.Wikarma'90. Very good/excellent vintage condition.  

“Africa Reinvented” by Keri Muller of Simple Intrigue, Cape Town, South Africa. A contemporary soft sculpture created from repurposed used paperback books retaining the binding of th...

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

Huge 17th C. Regal Flemish baroque Historical tapestry Royal court Antique LA CA . The period followed Renaissance and preceded Rococo and Neoclassical styles. The movement exuberant...

Nude Study in Pencil, Europe, 1940s. Beautiful and well drawn study with a male nude kneeling. Wonderful atmosphere and very elegant. At the underside of the paper there are also a few other drawings of...

Large glazed ceramic amber and black fish platter / wall plate, Spain, 1950s. The perfect serving piece for entertainment or party with four compartments. It can be hung on the wall ...

A beautiful and quite engaging large Mid-Century Modern tapestry/wall hanging. The piece appears to be made of yarn or wool using a hand latch hook technique. The piece features a ...

Offering a set of three highly decorative original Jean Lurcat Screen Prints. Each signed in the matrix. The larger: 23x27" and the two smaller each: 23x14". Each matted and framed i...

This large antique charger was crafted in Holland, circa 1960. The large, wall hanging plate depicts a wintry cottage scene, a Dutch windmill and boat, as well as people enjoying the frozen lake! One person is assembling skate shoes, while the other 2 stand in front of their ice sled. This platter has the traditional ditch classic blue and white palette. The ceramic piece has a flower border and features a farm house, a fishermen on a boat and a windmill in the background. The hand painted, porcelain piece is stamped on the back "Royal Sphinx...

It is not easy to find this kind of hand drawed and hand-made French wallpaper in good conditions. The shining turquoise and the scenes of the games of the characters and jugglers i...

This customizable Murano glass curtain in black, amethyst, clear, gray and aqua tints worked with avventurina, a contemporary work of art as a very decorative solution for a screen o...

5181 Ceramic and stone Peacock wall panel 1950's

A vibrant and wonderful collection of antique porcelain plates featuring 12 distinct Great Britain Castles which are labeled on the back of the plates ...

Largest collection of Portuguese tiles in the world 17th Century Portuguese Tile Panel Restored 56cm x 56cm 14cm x 14cm tiles With certificate of authenticity and export issued by ...

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...

This striking wooden wall sculpture is a one-of-a-kind statement piece that embodies the bold aesthetics of brutalist design. Meticulously constructed from reclaimed wood, the comp...

'Collapsed Triptych in Sand' is a unique wall-mounted sculptural artwork by the British artist, Olivia Walker. It has been created from coloured porcelain, tadelakt plaster and resin. The dimensions above are for the three panels. Walker works in porcelain to create pieces that explore ideas of growth and decay through the construction and layering of complex surfaces. All of her pieces start by being thrown on the wheel, before being built upon with thousands of individually applied fragments of porcelain. Many of her pieces are thrown and altered, often being cut away and reassembled in the leather-hard stage which allows her to deconstruct the form creating new surfaces on which to continue adding her porcelain layers. Starting from a set point on a piece, Walker lets these organic accretions spread out and grow, almost eating through, or growing over the form beneath and covering it. Walker makes reference to organisms such as fungus, corals, and bacteria but her pieces are her own interpretation, letting the viewer bring their own ideas and emotions to her pieces. Walker studied at Farnham in 2014 where she completed her MA in Contemporary Craft, specialising in Ceramics. An apprenticeship with the highly revered potter and writer, Julian Stair...