Glass Building and Garden Elements

Chic garden, patio, dinette set consisting of a dining table , and four side chairs. The table has a tempered glass top, the chairs have their original upholstered pad seats, metal e...

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

Beautiful antique leaded stained glass reclaimed window panels. Features blues and ambers with a rose at the center. A fun set to hang in the light or reframe for use. Dimension...

Composed of 3 safety glass panels, connected by 4 gilded brass hinges located at the top and bottom of the firewalls, the hinges on the upper part are embellished with gilded brass b...

RARE, LARGE COLLECTION OF GREEN, BLACK & CLEAR GLASS & FISHING FLOATS OR BUOYS WITH THE MAKERS MARKS FOR SMALL NETS c.1910 Displaying a variety of makers marks and symbols such as a...

A large and wonderfully vibrant antique English stained glass church window, circa 1880. Beautifully handpainted with an array of vibrant...

A very large rectangular reclaimed medieval style stained glass window, one of three similar in the same design in different sizes we are selling. This stained and leaded glass pan...

A substantial and well-made black high-gloss pedestal column stand or table, in a hexagon shape, glass top, and internal illumination (not in working order), Post-Modern period, circ...

A vibrant framed stained glass panel titled ‘The Bull’ by British stained glass artist, Sax Shaw (signed). Made circa 1980-1990, this colourful stained glass window was featured in a...

A large and impressive antique stained glass window depicting St John, the Evangelist, dating from circa 1860. In this stunning glasswork piece, the Saint is depicted in vibrant red ...

A small and unusual antique stained glass window panel depicting a stylised black wolf. Though this piece dates from the 16th / 17th century, the styling is older, reminiscent of med...

Bronze doors with Amuneal's proprietary machined bronze door pulls hold glass up to 1/2" thick. The doors, as shown, can be customized as a single door or as a pair of doors for a number of interior applications. Each door is fabricated with an interior capture frame that is removable for the installation and replacement of glass infill panels. Production lead time as stated assumes approximately 2-4 weeks for shop...

Opulent cast stone plaster dining table featuring a monumental garden ball finial or orb base. The giant sphere orb is very heavy and solid festoon...

This fireplace screen is made of 3 glass panels with bronze hinges. This is a French work. Circa 1970.

Elegant modern display pedestal features a brass tone mirrored finish with a beveled glass mirror top. This unique accent piece stands 30+ inches tall and is perfect for a sculpture ...

Leaded glass window, 19th century. The beveled leaded window with opalescent glass, amber ripple glass, and c-scroll designs Dimensions Sight: 8...

A very large and impressive antique medieval style stained glass window removed from Holkham Hall, Norfolk. This beautifully preserved piece of English history was recently discovere...

Beautiful antique oversized entrance door with diamond shape beveled glass panels and raised wood panels. This is a great door to be used as a front door or as a interior door sliding on a track between two rooms...

Bring the understated glamour of the Art Deco era to a property with this stylish set of 1920s internal double doors. Each door features full length copperlight glazing within a stripped and sanded pine wood frame with a natural finish. They make a beautiful pair of dividing doors, letting light flow through the glass from room to room to instil an interior with a spacious feel. These Art Deco double...

A large antique late 19th century Ecclesiastical style stained glass window signed by Ward & Hughes, London, 1890. This window is of excellent artistry, with each tiny detail hand painted by a late 19th century artist. The stained glass depicts a religious scene, thought to be Joseph being visited by one of the Lord’s angels in a dream. The angel told Joseph to not be afraid and take Mary home as his wife, because what was conceived in her was from the Holy Spirit. The angel said they will call their son Jesus because he was to save his people from their sins. A piece of art showcasing such religious meaning, only deserves to be pride of place inside a home or property - perhaps even a new addition to a church or chapel. Ward & Hughes, London Ward & Hughes, based in Frith St, Soho, London, proved to be one of the most successful stained glass studios of its time, known for its distinctive style. It was initially a partnership between Thomas Ward and James Henry Nixon...

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...

Antique arched church window with textured stained glass panels in multi colored swirl arrangements with a red jewel center. The outside frame is painted a reddish-orange color, bett...

A rare set of Swedish door handles / doorknob set by the company Verrina Sweden. Made during the 1970s in the style Art Deco Revival - Midcentury Modern Hotel Lounge and indeed suita...

A Wonderful Mid-Century Modern Polished Brass And Clear Glass Insert Fireplace Fire Screen

A charming early 20th Century Arts & Crafts leaded stained glass window panel. Features a geometric center of green ovoids centered and flanked by amber with diamond shapes in the c...

Beautiful shape and excellent condition pendants by Philips, circa 1920. Finding one rare original light fixture is a good thing, but finding two is always that extra bit special. A...

Long 3 1/2 foot transom window with stained glass designs. Textured clear glass keep your privacy, while the green hues create a soft border. In the center is a shield and floral emb...

Pair of antique 19th century Victorian / Art Nouveau framed stained glass windows. Features colors of green, rose, red and amber in a white frame. Originally used as sliding window...

Elegant scrolled wrought iron breakfast table or patio garden table featuring four large S scrolls. Conjoined on top and bottom with scrolls on to...

Nice Art Deco garden, Patio dining set having a glass top table with four matching armless chairs. This set shows significant rust, peeling paint and surface wear, as shown. In the s...

Set consisting of a table with a round glass top (H: 77 x Ø100 cm) and five matching armchairs (H: 86 x W: 69 x D: 75 x SH: 42 cm). The frames are made of white lacquered iron and ac...

Stained glass transom window from the turn of the century. Beautiful leaded design with colored glass. Currently housed in a temporary wooden frame - the...

Colorful set of 14 English Victorian leaded stained reclaimed church windows. These windows were salvaged from the library of an English Great House that burned. Each is beautifull...

1940s fine quality wrought iron Salterini demi lune console table with glass top. Salterini was consider the best quality wrought iron garden furniture...

Hard to capture the beauty of these rare stained glass Art Nouveau windows. They come alive when let by natural sunlight to display dazzling warm hu...

Incredibly sleek midcentury Klismo style coffee table by Thinline. Original cast aluminum with darkened brushed patina finish with glass top insert. A great addition to any Hollywood...

Chic Brutalist, Romanesque, Classical Antiquity style dinette table constructed of tubular metal with decorative rings, an X form stretcher, and original tempered glass top. The ta...

A very large and heavy exterior door with newly re-built stained glass.

A magnificent and very large reclaimed religious stained glass window made by Osborne and Phillips in 1949. This spectacular window stands at over 2.2m (7 ft) tall and features a rel...

Reclaimed arched window with textured stained-glass panels of yellow, amber, brown, and blue colors. This window is the top piece that was part of an arrangement above two rectangle ...

You can imagine this Victorian internal door with stained glass situated in a period kitchen or in the entrance hall of a traditional Victorian townhouse. This mahogany door is over 140 years old, dating from the late 1800s. It is fitted with fully restored glass in an understated Art Nouveau design comprising of clear textured glass around pale green details. The wood has a stripped finish and warm colour while cuts of wood carefully chosen by the craftsman make a feature of the beautiful mahogany woodgrain. This Victorian stained glass door...

Dating from 19th century England, this large glazed Victorian arched door is a stunning feature for properties period and modern. It was reclaimed ...

Large stained glass transom window with vibrant colored glass. This window gives full privacy with no clear glass, and a wonderful leaded design to enhance your front door. Currently...

A vibrant and colourful antique stained glass window depicting two horse riders, one of which is blowing a horn; one of a series of early 20th century stained glass panels we are sel...

A fine French early 20th century folding screen room divider with four mahogany panels adorned with small windows, gilded lacquered molding...

Long five foot transom window with wonderful colored glass. Floral designs and marbled green glass. Currently housed in a wooden frame - the overall dimensions are for the stained gl...

Chic set of three garden, patio, poolside tables attributed to Salterini, constructed of wrought iron and glass. The tables are all structurally sound and sturdy, all show significan...

Chic mid century dinette set to include a rectangular glass top table and four armless chairs. All pieces are structurally sound and sturdy, al...

Chic patio and garden dining set of four chairs and a round table designed by Hall Bradley for Brown Jordan. The original citron finish has a desirable aged and lightly faded patina....

Extremely rare and elegant Mid-Century Modern double push & pull door handles in Murano glass with gold layer. Real vintage gems. Probably designed by Archimede Seguso for Seguso Vet...

This unique and materially dynamic Mid-Century Modernist Hand-Blown White Glass Towel Holder W/ Chrome Fittings by Venini originates from Italy, Circa 1970. Features a single piece o...

An absolutely beautiful French Victorian antique stained glass panel arched transom window that must be viewed in person to truly capture t...

A superb quality and palatial pair of French 19th century lifesize cast-iron sculptures - torcheres of Native American Indians titled "L’ Indienne" designed by Jules Salmson (French, 1823-1902) and Cast by Le Fonderies d'Art du Val d'Osne, each standing figure representing a Native American Indian male and a female scantily dressed in their native robes, one arm raised holding a light-torch with an opaline glass globe, both wearing earrings, seashell necklaces and arm-braces, raised on cylindrical cast-iron stand. Signed/cast on each pedestal: “VAL D’OSNE”. (Electrified). Paris, circa 1870-1880. Overall hHeight: 127 inches (322.6 cm) Pedestal height: 39 inches (99.1 cm) Indian man's width: 22 inches (55.9 cm) Indian man's depth: 26 3/4 inches (68 cm) Indian woman's width: 28 inches (71.1 cm) Indian woman's depth: 25 inches (63.5 cm) These fantastic and impressive pair of cast-iron sculptures, most likely representing Hiawatha and Minnehaha, were probably comissioned to Le Fonderies d'Art du Val d'Osne for export to the America's to decorate governmental buildings and parks which makes these pair a rare find and now available for a private collection. Iron sculptures were preferred over bronze for outdoor park and building decorations for their long lasting resistance to all types of weather conditions. An identical pair of sculptures, also by Val d' Osne, are currently exhibited at the National Garden of Congress in Santiago, Chile. View Pages No. 87, 88, 89. Another identical pair are also currently exhibited at The Musée de la Ville - Indian Museum "O Indio do Museo da Cidade" in Rio de Janeiro, Brazil. Another identical pair decorate the front of the Ópera Teatro Amazonas, Manaús, Brazil. A single figure of the female Indian...

Crafted in France circa 1850, this exquisite pair of antique arched stained glass windows exemplifies mid-19th-century artistry from the Napoleon III period. Each panel features a ri...

Vladimir Kagan for Kagan-Dreyfuss Capricorn Cocktail Table, 1960c. Rare indoor/outdoor cocktail table designed by Vladimir Kagan for Kagan-Drey...

American Victorian leaded multicolored glass window with geometric design

A late 19th century antique stained glass window panel depicting Shakespeare, one of 3 similar we are selling depicting notable figures o...

Early 20th Century stained glass window with great colors and a beveled glass center in the original wood frame. This was the better half of a double hung window from a home built in...

Antique glass transom window with colored glass in geometric designs. Over four feet long, the textured glass will give you privacy and sunlight! Current...

This elegant set of tall reclaimed oak double doors will make a beautiful feature of a historic period property or contemporary home alike. Suitable for internal use, these antique d...