Belgium

This nice Pompadour antique fireplace mantel-surround, in a very rich marble, was original installed in a corner in a panelled room in Bruges. Fine architectural element from the 19t...

Ceramic dining table lamp in the shape of a bunch of tulips. Height with shade 28.7" - 73 cm.

This iconic Yves Saint Laurent "Rive Gauche" safari dress dates to 1969-1970. It was made in France from unlined cotton. The front is classic YSL does up the front with 4 buttons a...

Art Deco lamp lady holding a ball by Emile Carlier White metal with silver and golden patina on a black and white marble base. Crackle glass shade. France 1930. This model, as sculpt...

Pair of Wrought Iron Dachshund Andirons Brutalist - Vintage - Open Fire Measures : 18cmx46,5 H:20cm Material : Iron Wear Consistent with age and use

Are we human (or are we dancers)? - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inven...

Rag & bone Professional Dress Forms Sewing mannequin - couture Measures : 40cmx50cm H:200cm Wear consistent with age and use : Please see photos

This stunning pair of French modernist lounge chairs, designed in the constructivist spirit of René Gabriel and André Sornay, exemplifie...

Monumental mirror with exquisite details. The mirror has been restored and is in excellent condition.

Vintage original rope art backdrop tapestry, circa 1970s. This piece features a elegant pattern of hand knotted designs accented with wood. Adds a natural te...

Pair of Yellow armchairs designed by Liisi Beckmann and manufactured by Zanotta in the '60s, Karelia model. Seat height: 35 cm. Wear due to time and age. FOR SHIPPING, REQUEST US FOR...

Vintage set of 6 Luminarc Alsace wine glasses with the inscription 'Vins Moselle' on the foot, large glasses with a narrow dark green foot, they have a capacity of just over 150ml, m...

Swedish antique birch hand made wooden plates. Made to be used as a dining plates. Fine quality of handwork. these are true piece from the early 19 century. Beautiful patina on the ...

Beautiful vintage green crystal bowl, fruit bowl or vide poche by Val Saint Lambert, early 60s, Belgium, marked at the bottom in the base. Val-Sain...

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...

Typical Belgian Art Deco period, early 20th century, marble fireplace surround in perfect condition. The combination of the Black Belgian Marble and brown Belgian D'Ardenne marble ar...

Blomme #08, 2012 [From the series Vintage Diva's] 31x40cm Digital archival pigment print based on an original Polaroid on beautiful PHOTO RAG ® ULTRA SMOOTH paper 305gsm, 100% cott...

Set of 4 chairs with arms in metal, wood and rattan. Seat height: 45 cm. Wear due to time and age of the chairs. FOR SHIPPING, REQUEST US FOR RECEIVE THE BEST PRICE

Handcrafted Ceramic Tribal Mask – Signed “Atelier Manteln – BAKU 74” – Kuba/Songye Inspired This unique ceramic mask is a striking and expressive piece of studio art, crafted in 197...

Emile Louis Picault (1833-1915) « LE TRAVAIL » bronze statue The bronze statue 'Le Travail' by Émile Louis Picault is much more than a mere work of art. It embodies the very essence...

Vintage very Rare early Dutch Modernism Design Amsterdam School Dining Chair set of 4. Made in the Netherlands, Amsterdam, 1910 / 1920's period. Solid...

Large Art Deco Table Lamp in Patinated Brass, Italy, 1930s. This is a wonderful and rare Italian table lamp in a distinct art deco style. The shape is simple, but interesting at the...

Mid Century Murano Bull, Italian Somerso glass art, clear Murano glass with gold flakes and a central blood red and cobalt blue accent, circa mid 20th cent...

N 24 is a sculptural and expressive ring designed as a tribute to motion, grace, and delicate equilibrium. Referred to as the “Spiral” ring, it embodies continuous flow and transform...

Dining table by De Coene Frères chairs, model Voltaire, featured in original catalogue as the number 03-81-689. The table is made from Iroko woo...

Four legs stool by Arno Declercq Dimensions: D 32 x W 32 x H 50 cm Materials: Burned and waxed Iroko wood Signed by Arno Declercq Arno Declercq Belgi...

Beautiful set of early 1900s surgical instruments, including an amputation saw stamped A. GOUGEON and a complete Renault trepan with its accessories (rare). Overall in good condition...

Large vintage rectangular Deknudt XL mirror with facet-cut side panels and gold-colored acanthus accents all around, completely in the chic Hollywood Regency style, design object fro...

Tim Vranken is a Belgian furniture designer who focuses on solid, handmade furniture. Throughout his designs the use of pure materials and honest natural processes are paramount. The...

Vintage wall plaque abstract mid century ceramic wall hanging stoneware Blue glazed Owls relief designed by Sven Aage Jensen and manufactured by S...

An antique round glass box with in the lid a painted miniature from a noble lady Late 19th century The inside of the lid has a mirror The glass box have a frame from gilded brass Dia...

Beautiful curved Federico Munari sofa, in blue velvet. Iconic piece of Italian design.

Color lithograph after the 1961 oil on canvas by René Magritte, printed signature of Magritte and numbered from the edition of 300. The lithograph features the dry stamps of the Mag...

Villeroy & Boch porcelain tea set, decorated with drawings by Keith Haring, produced in 1991. Limited to 500 copies Please note that the large serving dish...

Set of 2 stools in leather and chromed metal. This model was designed by Charlotte Perriand for the French ski resort of Les Arcs in the 1960s. Seat height: 43 cm. Wear due to time a...

Art Deco Ceramic Vase by Arabia Finland – 1940s This charming Art Deco vase by Arabia Finland from the 1940s features a compact, rounded shape, offering a soft contrast to the era’s...

Mid century armchairs model Carimate designed by Vico Magistretti for Cassina. Initially designed for a Golf club called 'Carimate Golf club' these chairs became very popular and a ...

This elegant black lurex top embodies the timeless charm of a classic John Galliano design. Featuring spaghetti straps and a flattering fit, it exudes sophistication. The jacquard pa...

Pair of Space Age wall lights in bubble glass and brass from "Limburg", (Germany) signed inside with a label from the 70s. Electrically, fully safe and functional. Total height 24 c...

Rare mid century modern table lamp by Aldo Tura shaped like a pipe with a caged torch lamp and a plastic lamp shade. it also has a brass...

France / 1970 / console / wood, marble /Louis XV / baroque / mid-century A large gilted Louis XV style carved console table with beautiful green marble sculpted top. Crafted in France around 1970. Under the marble top, elaborate rich carvings of rocailles and shell motifs. The console rest on four double-curved legs joint by a decorated spacer. A timeless statement piece with French elegance...

Italian Murano chandelier. Diameter:50 cm. Height fixture:50 cm. Total height with the chain is 95 cm. Six E14 bulbs.

Lovely coffee table designed by Hans Wegner for Andreas Tuck in 1954. The top is made out of solid teak wood and stands and 4 oak tapering legs that spray at an angle. Great minimali...

Handmade Artist made Ceramic Tile Side table. Made in Belgium, 1960's period. Brutalist in design and style. Studio Pottery made ceramic tiles with pale blue lightning bolt design on...

Hoop earrings with removable charms handmade in Belgium by jewelry artist Joke Quick, in solid 18K white, Yellow and Rose gold and handmade the traditional way ( no casting or printi...

Two Pendant lamps 1970s. Gives a very nice warm light when lit. The lamps have two different sizes. Diameter 42 cm and 33 cm. Please note that price is per item.

From the range Phillips this centre-light is on a Flex Cabele 60 cm The lamp has a fitting on a Solid plate and holds a shade of opaline glass. Size Schade: 30 cm Diameter. / Height...

Beautiful art deco cake stand, cake stand in clear pressed glass with wavy and star pattern, this has glass threads and air bubbles in the glass, a...

A French early 17th century large scale period Louis XIII oak wardrobe with two doors over one drawer, geometric décor and original hardware. With this piece, we are in the middle o...

Table lamp designed by Achille and Pier Giacomo Castiglioni . Large Model Gatto. Stamped Flos inside. Wear due to time and age of the lamp. FOR SHIPPING, REQUEST US FOR RECEIVE THE B...

Small vintage baroque style mirror in classic gold leaf gilded frame made from resin, elegant mirror with elegant frame, France, ca 1960s. This nice mirror is in very good vintage c...

Villeroy & Boch Red Burgenland. Villeroy and Boch Dinner Plates. In excellent condition, no chips, cracks or crazing. Burgenland is one of Villeroy & Boch’s most iconic pa...

Contemporary Belgian design, handmade natural plaster table with a textured and earthy character. Indoor use (price outdoor +10%) Inspired by the menhir shape; An upright, elongate...

Danish - Side Tables - Severin Hansen - Haslev Furniture - 1960s Wear Consistent with age And Use - See Photos Pair of Danish Side Tables by Severin Hansen for Haslev Furniture - 19...

Ethiopian Procession Cross: A Sacred Heritage and Craftsmanship. Structure and Composition: This finely crafted Ethiopian procession cross is rich in iconographic detail. Constructed from metal, likely bronze or brass, it features a complex structure with several decorative elements. - Central Part: • Madonna and Child: At the heart of the cross is a depiction of the Virgin Mary holding the Child Jesus. This central image is framed within a circle adorned with openwork motifs and small inlays that appear to be precious stones or colored glass pieces. Arms of the Cross: • Angelic Musicians: Each lateral arm of the cross features an angelic musician, playing instruments and depicted in a flying position. The angels are finely detailed, with spread wings and carefully sculpted garments. • Cherub: At the apex of the cross, a cherub is depicted, a celestial being with multiple wings and surrounded by cloud-like motifs. • Bird Motifs: The lower extremities of the cross are adorned with bird motifs, likely doves, symbolizing peace and the Holy Spirit, placed within openwork circles. Base and Handle: • Engraved Base: The base of the cross, which serves as a handle, is also richly engraved with floral and geometric motifs, providing a sturdy and decorative grip for processions. History of Ethiopian Procession Crosses Origins and Evolution: Ethiopian procession crosses have a long history, dating back to the introduction of Christianity to Ethiopia in the 4th century under King Ezana. Influenced by Coptic and Byzantine traditions, these crosses evolved to adopt a distinctive style unique to Ethiopia. - Characteristics: • Style and Iconography: Ethiopian crosses...

Timeless eye shaped white marble coffee table with two triangular bases. Beautiful vained marble. Good condition 1970s - Italy Height: 43cm Width: 122cm Depth: 70cm Ref.: 25071...

Masterplan - 2021 - 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, Not mounted. Signed on the back and with certificate. Artist inventory PL2021...

Pair of Søholm ceramics table lamps made of clay with various shades of brown / orange. This is a very elegant pair of table lamps. We have replaced the shades by new handmade Belgia...

a unique piece of furniture, 4doors cabinet from the Pyrenees region in the north of Spain ... lovely sculpted panels ... pure and genuine as I love ...

Beautiful female mannequin hat stand made from plaster. It was used to be displayed at a shopcounter or vitrine. Comes from a lot acquired from ...