19th Century Architectural Elements

Antique pair of French shutters in very old paint removed a long time ago from a chateau located in Brittany. **Width provided is for the wider shutte...

Decorative large cast plaster capital of Iconic order, Austria, 1870-1880. The capital is formed by two volutes on the flanks connected with decorative...

19th C. French Louis XIV wrought iron bombe balcony railing. It is characterized by its hand-forged, ornate scrollwork and a bombe form that curves outward. These types of railings w...

Antique massive handcrafted Hispano Moresque studded doorway, incredible work, very heavy authentic Moroccan door. One door inside a larger door. 19th ...

Superb 19th century Parisian Louis XV fireplace mantel in beautiful soft toned Italian Breche marble. The serpentine shelf rests above a paneled frieze centered with an beautiful fl...

Its a pleasure to offer this wonderful French fireplace in beautiful Italian Breche (Breccia) marble. This early 19th century transitional (XIV - XV) mantel shows a great variety of ...

This magnificent building facade was once part of a grand mansion in Gujarat, India. It is entirely made from Teakwood, which is highly resistant to in...

Late 19TH Century Cast Iron Lamp Post Base heavy decorative floral relief ..Wonderful design,, 4-sided, (MATCHING) one panel removable (access pane...

EXQUISTE Antique French PAIR of Oak WINE Buffet Doors~~Early 19th Century Fabulous pair of painted wine doors can be hung on the wall of any bar or game roo...

An Italian hand-carved wall plaque, with its original painted and gilt finish, from the 19th century. This antique wall decoration from Italy features a rectangular-shaped molded surround, with quarter-circle inner edges, that frame a carved assemblage of helmet, horn, arrows, and foliate motif at center with carved-rope and bow-tied ribbon in gilt. The original hand-painted finish has a faux marble background in gray hues, with green, red and gilt accents on the center carvings. This 19th century Italy carved plaque...

Stunning Art Nouveau/ Arts & Crafts tile panel from the superb firm, Craven Dunnill, & Co., Ltd, Jackfield Salop, England, circa 1905, in a bright celadon. This quantity original jug...

Gorgeous set of four hand carved Chinese screens These were originally part of a screen or room divider and could be put back together to serve that purpose if required Good size at ...

This wood accent piece originally served as a section of gear work from a water mill in China. The deep worn patina of the rich hard wood is warm and inviting. May be used as a conta...

Antique wrought iron decorative Transom or window guard. Lovely half moon shape with detailed scroll work. Some restoration done to piece. See photos. Perfect ornamentation for above...

Pair of Marble Columns is an impressive original decorative object probably realized in the 19th century (bases are much older). Original very fine green marble and white marble (...

Antique Paonazzo Marble Chimneypiece for Sale

There is something undeniably captivating about an original antique fireplace mantel, especially one crafted from a rare and beautif...

A One-of-a-Kind 19th Century French Marble Mantel This antique marble mantel from 19th-century France is a fine example of the Louis XV style, celebrated for its flowing curves and ...

Very heavy and large Mid 19th Century English Cast Iron Royal Coat of Arms Shield or Crest. Made from solid Cast Iron from the Walter MacFarlane & Co, Saracen Foundry Possil Park Gl...

This giant architectural element once graced the pediment of a Northern Thai temple. It is from Chiang, Mai, Thailand and entirely made from Teakwood, which is naturally resistant ...

These are a very decorative set of Three small ceramic wall tiles, with a Blue and White figural scene, dating to the later part of the 18th century or early in the 19th Century. Al...

The pair of antique Corinthian columns are painted with a marblized effect on each base and shaft and have black capitals, above which are ce...

The antique wrought iron bracket is decorated with curls and a spear-like tip. Holes on the side bar can be used to secure to the side of...

Incredible pair of wrought iron finials, probably originally placed on a brick wall as decorative elements at an entrance. The finials feature fol...

French Gilded Wood Rococo Wall or Table Fragment. Beautiful period Rococo design constructed in gilt wood featuring intricate scroll motifs throughout as well a small old mirrored ...

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

Large French double door from the late 19th century. Made of solid pine wood in the original paint. Doors made in frame construction with 4 cassettes each. Very beautiful origi...

A pair of monumental solid satinwood doors with classical egg and dart carved decoration and fine quality brass door furniture. Brass door pulls marked CHING (Comyn Ching of Londo...

Beautiful and surprising 19th century French Louis XV Rococo style fireplace mantel in white marble. The perfect dimensions and decorations truly make this mantel stand out. Lo...

Set of six old Dutch hand painted ceramic tiles attributed to Royal Tichelaar Makkum featuring scenes of equestrian cavaliers. Netherlands, late 1800's. Dimensions: 5-1/4" Square x ...

This elegant antique fireplace, made of refined Carrara marble, comes from France and exudes the charm of the 19th century. With graceful lines and subtle details, it is a timeless v...

19th C cast iron lion and unicorn with original paint. 1860. Unicorn dimensions: 26" W x 4" D x 18" H. Lion dimensions: 27" W x 5" D x 14" H. ...

Nice and decorative square cast iron fireback / backsplash displaying a female figure doing laundry and other house hold chores. Great original condition and nice patina. Can be pla...

This 19th century Rococo-style, gilded and painted in blue and red table lamp, featuring an decorative urn shaped body with side handles carved in wood. The lamp is raised on a squar...

Unusually long Victorian Widows Walk fence fragment, made in the USA, circa 1880’s, constructed of cast iron. Perfect to repurpose as a decorative garden ...

This is a one-off tile stove made by the Martin company, located in Zeist. The company was part of the still existing Hernhutters. In its current cond...

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 ...

A pair of antique doors with arched and paneled design with remnants of old green and other encrusted paint. The doors do have some old hinges an...

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

Small Sint Anne Marble Bolection fireplace mantel. A very nice and delictae square bolection fireplace executed in Sint Anne marbl...

One of the most outstanding pieces of ironwork we have ever seen, truly a one off spectacular mid-19th century iron overdoor, sourced from a Scottish estate this bespoke overdoor exp...

1850 Carved polchromed and gilt wood puto architectural element

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...

Gilt lion ring handled bridle hitch. Antique metal lion equestrian ring handle mask for hitching horses. American 19th century Dimensions: 4.75" diameter x 2.5” deep ; 6” to bottom...

This outstanding pair of yellow "Breccia di Siena" precious Doric marble columns raised on a white Carrara marble square base with a large molded socle above. Finely carved iconic Io...

19th C. Terracotta Lion Head Regency Style Building Garden Architectural Elements. Items are decorated with finely cast lion heads, stylized Fleur-de-lis and scroll work, and beautif...

Arched ironwork features landed and riveted components. Metal work is structurally sound with no losses.

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

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...

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...

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 ...

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...

Beautiful late 19th century antique stained glass window with flowers and jewels. This is a great window with good colors from a private billiards room in Fairfield County Ct. Original salvaged from an estate in northern New Jersey over 40 years ago. It has some small cracks shown in the photos but is very sturdy and in very good condition. The sizes are for the stained glass window in a small wood frame...

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...

In all original untouched condition including weathered paint, this wonderful Folk Art wall plaque speaks for itself. Substantial size. It looks to be made to be mounted on a ledge, ...

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

3 English Georgian style (19th Century ) mahogany carved archways with oak and laurel leaf design (Belmont Estate, Long Island)(PRICED EACH). Related it...

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

This magnificent garden sculpture, originating from France in the 19th century, stands as a testament to the craftsmanship and artistic fervor of the era. Crafted from cast iron with...

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...

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...