Stained Glass Furniture

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 Arts & Crafts Era Leaded Slag Glass Table Lamp with Floral Shade C1920. Measures - 25.5"h x 18.5"diam A antique slag glass table lamp fro...

An unrestored large ecclesiastical Scottish stained glass roundel depicting the burning bush. It is handpainted around the perimeter with ‘nec tamen consumebatur’, Latin for ‘yet it ...

We are delighted to offer this stunning Art Nouveau style salon lamp, a faithful reinterpretation of the "Hanging Head Dragonfly Shade and Mosaic and Turtleback Base" model created by Tiffany Studios in 1906 and attributed to the renowned artist Clara Pierce Wolcott Driscoll (1861-1944). This artwork is notably displayed at the Art Institute of Chicago. This high-quality piece, made in the 1980s, stands out for its exceptional craftsmanship and high level of execution. It embodies both the refinement of the Art Nouveau style and the timeless elegance of Tiffany creations. Description of the Artwork: Bronze Base: The base of this lamp, made of bronze, is a work of art in itself. It follows the design of the original model, while being enhanced with artistic details that showcase the exceptional skill of the artisans. Nature-inspired motifs, characteristic of Art Nouveau, are finely crafted, with an elegant patina that gives the lamp a sculptural dimension. Base Covered in "Turtleback Shells" / Glass Tiles and Mosaic: The lamp's base features a combination of glass tiles and mosaics, creating a fascinating visual effect. The glass tiles, reminiscent of turtle shells, were used by Tiffany in their original creations, where light passes through the glass pieces to reveal a play of shadows and light embedded in a harmonious composition. The lighting effect is spectacular, especially when the lamp is lit, as the light diffused through the glass elements creates a warm and enchanting atmosphere. Dragonfly Stained Glass...

19th Century Window panels in stained glass A set of 2 panels made of stained glass with scenes of characters walking in the forest and women with chi...

A Very Fine and Large Stained Glass and Hand-Painted Vitreaux Panel depicting "The Presentation of the Virgin Mary", also called Entry of the Most Holy Theotokos into the Temple, feast celebrated in the Roman Catholic and Eastern churches on November 21, depicts the Mother of God’s entrance into the Temple. It was held in the Eastern church in the 6th century but did not become widely accepted in the West until the 15th century. The finely executed colorful stained glass panel beautifully displays the presentation of the child Mary in the temple...

A petite Arts and Crafts mahogany display cabinet in the Anglo-Japanese style with chequer string inlays and carved fern details to the upper sides with stained and coloured leaded f...

A beautiful Tiffany-style Art Nouveau stained glass pendant light with a dome-shaped design, showcasing a rich array of colors and intricate patterns. The upper section is made up of...

Antiques of London A striking Tiffany-style table lamp inspired by the Art Nouveau era, this exquisite piece features a handcrafted stained glass shade and a matching illuminated...

American turn of the century window with stained glass and leaded decoration. Beautiful colors to brighten your room! Currently housed in a temporary wooden frame - the overall dimen...

Smooth, curved, and distinctly contemporary, this capsule-shaped sideboard features a softly rounded silhouette that brings a sense of quiet sophistication to any interior. The body ...

Magnificent antique glass window over six feet tall, featuring Jesus with children. Dedicated at the bottom to: "In loving memory of his parents..." Has two window openings at top an...

A superb table lamp or night light, Modernist, Brutalist, Folk Art, wrought iron base decorated with superimposed balls, surmounted by a geometric lampshade simply "placed" on this s...

Very Fine Gothic Revival Cathedral Style Wall Bracket/cabinet with Original Stained Glass and fine Bronze Details - cherub faces, door with detailed latch, column motifs, and scallop...

1920a Ornate Iron Leaded Glass Table Lamp Height to top of shade Mint greens and pink stained glass Needs Rewiring Shade Tilts a bit - needs adjustment

Large Victorian style window with deep blue glass. Trimmed with textured clear glass, the blue design pops with color! Scrolling patterns in light pink hues add a contrast to the bri...

An alluring and visually rewarding example of Tiffany Studios New York's great "Greek Key" table lamp. Mottled glass in hues of warm amber and bright sunshine yellow soften the wonde...

This is a nicely designed Arts and Crafts table lamp. It simple and clean with a tented shape and cast floral filigree panels. Each panel has two pieces of complimentary colored glas...

Elegant faceted white opaline glass and stained glass shade Arts & Crafts table or desk Lamp. Dimensions listed are the overall dimensions of the lamp with the shade.

American made stained glass window with masterful coloring and led work. Deep colors of blue and red with amber. Currently housed in a temporary wooden frame - the overall dimensions...

This stained glass table lamp is really unique. This will be something of interest to railroad enthusiasts. The 4 sided lamp reads EXP and LOCAL in red and green letters. On its own ...

A special chess set in solid hand-patinated brass. Handcrafted in the North to order. Available in a range of materials and finishes, Otterburn can tru...

Early 20th Century door with large stained glass window. Art Deco styled design with colorful glass panels. There are 2 doors, the listing is for 1.

Arts & Crafts Leaded Stained Glass Table Lamp 20thC. Measures - 23.25"H x 26.25"W x 26.25"D. A finely crafted Arts & Crafts leaded stained glass table lamp of the 20th century....

A vibrant Victorian stained glass window hanging in the form of a pseudo armorial. Unusually shaped, this small stained glass panel uses a myriad of different coloured glass panes a...

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...

An antique Art Nouveau style stained glass window dating to circa 1890. This panel showcases a hand painted design of organic patterns with a stylised geometric flair and a strikin...

Beautiful antique leaded stained glass Art Nouveau transom window. Features a floral design at the center in a ruby tone with green leaves flanked by amber colored diamonds and a peb...

A fascinating set of 4 Victorian late 19th century English leaded stained glass windows. These beautiful specimens showcase the wonderful Heraldy of the United Kingdom with the shiel...

These magnificent pink Italian bedside tables are a true testament to Italian-Venetian craftsmanship, with exquisite Murano glass spheres embellished with brass inserts and elegant s...

This pair of magnificent doors come from inside a church, and feature two religious scenes with Latin text. Beautiful coloring and leaded designs depict Mary, Joseph and child, with ...

Discover the allure of Italian craftsmanship with this Black Murano Glass Sideboard. Crafted from solid birch wood and adorned with opulent brass trim and legs, this sideboard is a...

Introducing the Green Murano Glass Modern Console, a masterpiece of contemporary design that combines the timeless elegance of Murano glass with the sophistication of brass. This u...

Identity The Console Moderna "Indaco" is an entry/serving console designed and entirely handmade in Italy by the studio Justfurnituress. It is conceived as an atelier piece: a calibr...

A small antique German stained glass roundel depicting St. Hubert and the Stag. St. Hubert is the patron saint of hunters who is known for experi...

Set of 2 wall sconces designed by Flavio Poli for Seguso in the 1960s, chromed brass structure, thick smoked orange glass. Excellent conditions, perfectly working. Born in Venice in...

Exceptional and rare lamp from the 1920s. They are 2 lamps with a damaged glass on the lampshade but stable in that it cannot fall out therefore these two show marks of previous use ...

Bespoke Italian pair of black bedside tables, a masterpiece of design that combines the elegance of Mid-Century Modern style with unparalleled Italian craftsmanship. Each bedside t...

Arts & Crafts Leaded Stained Glass Table Lamp 20thC. Measures - 20"H x 16.25"W x 16.25"D. An Arts & Crafts style leaded stained glass table lamp from the 20th century. The lamp...

Stained Glass Wood Lantern France, 1900 wood lantern with stained glass panels. Carved side details and exposed bulb arms. *Please note small crack in one green glass pane as...

Arts & Crafts Leaded Stained Glass Table Lamp 20thC. Measures - 22.75"H x 15.75"W x 15.75"D . A striking example of Arts & Crafts design, this leaded stained glass table la...

A large ø59cm antique ecclesiastical, post-medieval stained glass roundel. If looking for a pair, we are also selling another roundel in exactly the same design. Dating from circa 1...

A late Victorian antique English stained glass window, circa 1900. We are also selling a second window in the same design. This colourfu...

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...

Antique church window with colored geometric glass panels. Beautiful design that lets in the light! Currently housed in a wooden frame - the over...

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...

Vintage large French painted and fired stained glass window. Features a Victorian garden scene with a woman seated in the garden amidst beautiful flowing gardens. Dimensions: 16.75...

Arts & Crafts Large stained glass window circa 1900-10. Beautiful archway shape highlighted by warm floral motifs. Good original condition. ...

Stunning stainless steel and blue glass Art Deco / Machine Age clock manufactured by The Webb C.Ball co...Cleveland, wind up 8 day table clock, Classic modernist design.. runs and keeps perfect time. The WEBB C. BALL CO. was one of Cleveland's major jewelry...

Introducing our limited edition Dry Bar Murano Glass Cabinet, a true masterpiece of Italian craftsmanship. Handcrafted in Italy, this exquisite cabinet combines the warmth of solid...

Fabulous quality turn of the 19th century pair of religious painted stained glass arched windows. Set in oak and bent wood frame. Beautifully...

Set of three leaded stained glass window panels. Features pebbled glass in yellow with colorful floral stained glass panels. Dimensions: 15.5" x 18.5" x .25"

Handcrafted of Eucalyptus Fumé Matte base holding bronze glass top. Detailing in black texturized & gold stainless steel Low table dimensions: 43.5" x 43.5" x 14" H High table dimens...

Imagine the sideboard by JustFurnituress, a masterpiece of design that combines poplar wood with a golden glass finish, creating an atmosphere of luxury and refinement. This piece of...

The Fun Guy Wall Light is equal parts whimsy and grace. Inspired by the forms and luminescent coloring of wild mushrooms and fungi, a chunky aluminum base ...

Antique Enclosed Free Standing Light Box with Stained Glass Church Window with Religious Scene This antique stained glass window is encased in a fr...

These iridescent lamps, designed by Gaetano Sciolari in the 1960s-70s, embody the elegance and boldness of the design of the time. Featuring a structure composed of thin metal tubes ...

Pair of exceptional Arts & Crafts pendant lights circa 1920's feature shades with amber toned, stain glass panels housed within scalloped brass frames topped with foliate fitters, di...

A charming Danish corner cabinet in oak, featuring beautifully crafted leaded stained glass panels in soft tones of green, amber and blue. The piece combines functional storage with ...

A late 19th / early 20th century stained glass window bearing the coat of arms of Great Yarmouth. This crest dates back to the 14th century, detailing a shield with half lions to one...