European Architectural Elements

A pair of double door handles, push and pull, square textured clear cast glass with mat antique gold anodised aluminum. They are designed for a glass or wooden doors but suitable for...

Very nice rustic mantelpiece of gray marble stone. A mantelpiece with few ornaments, but with beautiful lines and slightly curved legs. This mantelpiece in Campagnarde style is from ...

Gorgeous hand-carved wooden lion head with a great patina due to its extreme high age. France circa 1650-1750 Weathered. measurements include the wooden base. H:32,5cm W:18,5cm D:1...

Sensational French antique fireplace surround for the connoisseur. Late 16th - early 17th century period chateau fireplace surround in great authent...

Matching pair of original late 19th century Interior fluted oak Pilasters. With iconic Greek Capitals. Please contact us for a worldwide shipping quote

A sculptural bronze push or pull door handle with abstract relief. Germany, second half 20th century (probably 1970s). A heavy piece, made of cast metal, with very nice changing ton...

It can be used in any interior, for example as a flowerpot or other kind of decoration. The hight without the handle is 73 cm.

Exceptional, impressive and monumental 19th century antique fireplace surround in beautiful Arabescato marble. The carving is in superb quality showing the high standard and exceptional craftsmanship of its sculpturer. This unique antique chimneypiece mantle is a one in its kind The style of this antique mantle...

A set of two very attractive wrought iron panels or screens in art nouveau style, early 20th century. European, possibly German or Czechoslovakian. These screens are made of delicat...

French style wrought iron greenhouse with doors and windows that open outwards. Ready for glass panels to be installed.

Two pieces Art Deco edge protection for the wall, circa 1920s. Polished and stove enamelled.  

Beautiful copper door with Rococo decorations and dated 1783. Could be used for a actual fireplace, or as a Folk Art wall decoration.

Beautiful Gilt and Silvered Door Moulding Architrave, 18th Century Rococo This beautiful top door header moulding features intricate detailing in typical ...

An antique Portuguese Baroque architectural wall frame made of partly gilded Pinewood, in good condition. The tall, surround is particularized by ...

This architectural grille facade element is a remarkable piece designed by the acclaimed mid-century designer Jean Prouvé, and produced by C.I.M.T in France around 1960. Originally p...

Very beautiful and robust castle mantelpiece made of French limestone! This antique mantelpiece dates from the 18th century and has a subtle ornament in the middle of the front part ...

French style wrought iron greenhouse with doors and windows that open outwards in white color. Ready for glass panels to be instal...

Early 19th century brass bird cage, circa 1810-1830 The bird cage has two bird seed containers that attaches to the cage.   

A rare antique marble fireplace from ancient Portoro marble from Tuscany. Portoro marble is one of the most elegant Italian marbles. The black background with golden veins ensures lu...

Unique and wonderful folk art coat of arms, Depicting a eagle holding a rabbit, two crosses and two castle's and on the top a grotesque head. This beautiful period piece is made out ...

Amazing set of handmade tiles in rich green colors. Each tile is divided into six faces. Manufactured early 20th century, Belgium. These tiles would be charming displayed on easels, ...

A very handsome early 17th century Door from Venice, Italy. Doors such as this were used to cover cupboards that were recessed into the wall. Beautifully constructed from walnut. Fab...

Beautiful weathered hand carved stone angel head ornament that once adorned a facade. France, circa 1650-1750. Weathered. Measurement includes the wooden base.

Beautiful handcarved and natural weathered oak baroque ornament . Was once part of a larger piece. France, circa 1650-1750. Wonderful weathered condition. Measurement includes the wo...

Large French baroque wrought iron door lock on acrylic stand.

One of four "Liberty" Italian Stained Glass door- window Panel, Italy 1900 c Measure: Each door/panel measures height cm. 190, width cm. 5...

Monumental Louis XVI black marble mantle in excellent condition. A true masterpiece. The carving is of such a high quality showing the true art of ...

An exceptional and rare 15th Century English wrought iron banneret weathervane with lightning rod. Features an ornate arrow and pierced coat of arms or crest with lion. Marked “4 lb” on base. The Rampant Lion with the crown above its head stood for royalty. The Trefoils (2 on there sides and one at the point of the “spear”) stood for longevity and can also represent the Holy Trinity. The 3 Lilies are the precursors to the Fleur-de-lis, and were commonly used to signify purity, loyalty, piety, faith, and can also stand for the Virgin Mary. Purchased from one of the Great Houses of England, where it was on display in their collection. Surely belonging to a royal families home or castle. The “4 lb. base” is something that was added much later, when it was taken off the building it had been on. The base allows it to display nicely. Weathervanes have been around for over 2,000 years, invented by the Greek astronomer Andronicus in 48 B.C. to determine the direction of the wind. The first weathervane – also called a “wind vane...

A nicely decorated gem of a fireback or backsplash, displaying a monkey and cat playing in a fireplace mantel. Hollow casted so its relatively light, would make a great wall decor...

Architectural door pull by Belgian ceramic tile artist Juliette Belarti. Vintage midcentury Belgian tile faced entry door pull handle. Great abstract in green, white snd orange colo...

Amazing neoclassical hand painted panel in fresco style. Italy circa 1780 Weathered, small losses. Measurements include the wooden base. H:52,5cm W:39,5cm D:7cm

Pair of 19th century weathered stone artichoke finials. They are all hand chiseled and have bulbous shapes with a layered, petal-like pattern coverin...

Great pair of well carved French Renaissance style or French Baroque style relief carved architectural walnut wooden panels or fragments from the 19th century. These beautifully carv...

3-791 English cast iron lyre boot scraper resting on an oval scalloped edge base late 19th century

Large French architectural doors with charming detailing. Over nine feet tall, can be used as a long room divider. (Please confirm item location -...

This is a heavy antique Patent fireproof safe. An English, cast iron lock box by Milners of Liverpool, dating to the Victorian period, circa 1870. Superb example of Milners’ renowned 212 Patent fireproof model Exceptionally robust cast iron construction with fire-resistant lining Distinctive deep green exterior finish with appealing aged patina Striking relief medallion to fascia, bearing Milners of Liverpool maker’s mark Secondary lid plaque features coat of arms motif and engraved details Lid opens smoothly and remains upright via hinged internal stays Attractive bright green interior offers pleasing contrast and practical storage Fascia hosting a lock escutcheon — in working order, key present Equipped with stout carry handles to each side for two-person lift Ideal as a unique statement piece for office, hallway, or retail interior This antique Milners safe...

Incredible and enormous portal in poplar wood richly carved with leaf decorations and volutes, ancient and original from the 18th century, sumptuous and luxurious. A rare historical ...

11 of the 30 sets of 4 f unique antique tiles, with a beautiful Art Deco pattern manufactured around 1930 by Céramiques d 'Hemixem, Gilliot Frères, circa 1940, Belgium. The dimensio...

Rare facade element by Jean Prouve, designed for the André-Argouges high school, Grenoble France 1965. Made of enamelled metal with isolation inside. A...

Architectural door pull by Belgian ceramic tile artist Juliette Belarti. Vintage midcentury Belgian tile faced entry door pull handle. Great bri...

A rare opportunity to acquire this exquisite panelled room with original wall fabric, circa 1912. This room was designed by Jac. van den Bosch (1868-1948), the wall fabric was design...

This pair of 19th-century finials features sculptural flame motifs cast in metal, likely zinc, known for its durability and weather resistance. Each flame form rises organically with...

Circular push-pull door handle in brass, with hammered texture. Mid-20th century. Found in France. The handle is made up of two separate pieces with hammered texture; each trimmed w...

1950s Set of flared wings Italian Sculptural hardware Brass Door Pulls Drawer handles. 4 pieces in set. Lovely design Italy Mid Century Modern. 6.75 W x...

18th century Italian wall decorative panel frieze with stunning hand-carved gilded relief. The decorative gilt relief motif is very classical, hand-carved with alternating love knots...

Large neoclassical style bath made in Scoplito marble, these designs have not changed since Roman or Greek times with these superb simple lines and excellent proportions. Dimensions...

18th Century Spanish Glazed ceramic tile from Triana in Blue and White of a Hand-Painted Horse.

here we offer one of 2 bangas, with light grey interior. the second one with black interior is offered in another listing. a banga shows ways in which we could live more sustainably, resource-efficiently and minimally – whether in the city on previously empty roofs or in the countryside to make better use of large plots of land. whether as a guest room in the garden or as a vacation home at the lake: a banga usually doesn’t need a building permit, because its floor area remains under 10m² (but beware: in nature reserves or conservation areas other rules may apply, of course!) and as a design object in a very small edition, the banga – in contrast to the diy store hut – rather doesn’t suffer from loss of value. - design & development: carlo zappa, milan - trademark / patent: no. 23306 b/71 and no. 30719 a/71 - construction period: first series 1971 to 1974 - last distribution: bungalows international srl, milan - complete restoration: 2022 - external dimensions : wxlxh 3,24m x 3,24m x 2,80m - floor space: 8,1m² - weight: approx. 850 kg - walls: 2-layers of 2,5mm fiber sprayed grp sheets - floor: osb wood-based panel on wooden beams on stainless steel profiles - insulation: 20mm rock wool/ pur insulation - windows: 4 x round sliding glass + grp sliding shutters - doors: double walled glass fiber reinforced polyester resin (2 mms each) - edgings: partly aluminum / stainless steel piping - interior: grp, spray paint high gloss white ral 9016 - restauration: documentation available facilities: living room-bedroom - 2 sofas that can be converted into 4 beds - 4 new cushions / mattresses (covered in a light grey or black fabric) - many niches, shelves and cupboards - 2 integrated architectural lights made of translucent grp - ‘norament’ 926 rubber studded floor (black) - induction floor heating - ‘redwell’ infrared radiant heating (power 400w) - natural ventilation system, manually adjustable with wooden sliders - and of course a banga pillow and 2 sleeping masks are included kitchenette - sink with ‘hansanova style’ standing faucet and ‘grohe therm cosmopolitan’ two-handle grips - flow-type calorifier (up to 60℃ / 140℉) for sink, shower and washbasin - 1 double socket under the sink bathroom - completely separated from the living room - sink, shower, toilet, even the waste pipe is made of grp - slip shower head for sink and shower - ‘uten_silo’ wall container...

here we offer one of 2 bangas, with black interior. the second one with light grey interior is offered in another listing. a banga shows ways in which we could live more sustainably, resource-efficiently and minimally – whether in the city on previously empty roofs or in the countryside to make better use of large plots of land. whether as a guest room in the garden or as a vacation home at the lake: a banga usually doesn’t need a building permit, because its floor area remains under 10m² (but beware: in nature reserves or conservation areas other rules may apply, of course!) and as a design object in a very small edition, the banga – in contrast to the diy store hut – rather doesn’t suffer from loss of value. - design & development: carlo zappa, milan - trademark / patent: no. 23306 b/71 and no. 30719 a/71 - construction period: first series 1971 to 1974 - last distribution: bungalows international srl, milan - complete restoration: 2022 - external dimensions : wxlxh 3,24m x 3,24m x 2,80m - floor space: 8,1m² - weight: approx. 850 kg - walls: 2-layers of 2,5mm fiber sprayed grp sheets - floor: osb wood-based panel on wooden beams on stainless steel profiles - insulation: 20mm rock wool/ pur insulation - windows: 4 x round sliding glass + grp sliding shutters - doors: double walled glass fiber reinforced polyester resin (2 mms each) - edgings: partly aluminum / stainless steel piping - interior: grp, spray paint high gloss white ral 9016 - restauration: documentation available facilities: living room-bedroom - 2 sofas that can be converted into 4 beds - 4 new cushions / mattresses (covered in a light grey or black fabric) - many niches, shelves and cupboards - 2 integrated architectural lights made of translucent grp - ‘norament’ 926 rubber studded floor (black) - induction floor heating - ‘redwell’ infrared radiant heating (power 400w) - natural ventilation system, manually adjustable with wooden sliders - and of course a banga pillow and 2 sleeping masks are included kitchenette - sink with ‘hansanova style’ standing faucet and ‘grohe therm cosmopolitan’ two-handle grips - flow-type calorifier (up to 60℃ / 140℉) for sink, shower and washbasin - 1 double socket under the sink bathroom - completely separated from the living room - sink, shower, toilet, even the waste pipe is made of grp - slip shower head for sink and shower - ‘uten_silo’ wall container...

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...

A rectangular bronze push or pull door handle, with Brutalist geometric design, together with matching bell push, mid-late 20th century, European. This is a heavy handle, made of ca...

This fireplace surround has a very nice central LXV motif and a richly carved front. A classic Louis XV decorative country fireplace. The limestone is a bicolor from the Burgundy reg...

Beautiful handcarved giltwood acanthus leaf ornament that once adorned a chapel . Original period piece that due its high age has a beautiful weathered look. Italy circa 1780/1850 , ...

This is a pair of large scale neo- classical style 19th century painted capitals. This continental pair do have some chippiness to the paint.

Large Italian giltwood bed canopy, or corona (also known in France as a ciel de lit), circa 1760-1780. Hand carved giltwood with painted detail decoration. ...

This amazing, one of a kind fireplace mantel, surround is in perfect condition; it was made by special order for a Parisian salon (France). It is crafted from white statuary marble w...

A dramatic frame of carved mahogany found in the Netherlands, likely a 19th century architectural detail such as a transom above a doorway. This pierced window is without glass allow...

Beautiful handcarved giltwood floral ornaments that once adorned a chapel .Original period pieces that due their high age have a wonderful weathered look. Italy circa 1780/1850 , wea...

Double capital with hook decorations
 Grey stone
 France, 13th century
 Reduced—cut in the back in modern times H 22 x L 41 x P 20 cm 'Hook' is the name given today to these ornamen...

18th century Italian wall decorative panel frieze with stunning hand-carved gilded relief. The decorative candelabra gilt relief motif is very classical, hand-carved with alternating...