19th Century Building and Garden Elements

This Greek style Biot pot used to hold oil; but now they hold your attention! Made of terracotta; each is commanding without being overbearing. They are strong and expertly crafted w...

Crafted from exquisite French White Veined Carrara Marble, this 1890's Louis XVI style mantel boasts intricate carved details for a touch of elegance. Add a touch of luxury to your f...

Massive early terracotta olive jar dating to 19th century, Tuscany. Nice natural patina. Its dramatic scale makes this jar an excellent decorative...

French oak hand carved Gothic revival panel. There are three available. Each panel is 1" deep by 8.5" wide by 13" high.

Beautiful antique fireplace made of French limestone from the 19th century in Campagnarde style. This mantelpiece has a rustic appearance with a warm color nuance and slightly curved...

A good antique French lead figure of a delicately featured boy, or Pan playing pipes raised on a stone plinth, circa 1880. Created as a fountain, and still can be used as a fountain ...

An attractive and richly coloured antique Victorian period fireplace made from very desirable Portoro Nero marble The arched panels with raised and fielded panels are centred by a ke...

An antique late 18th/ early 19th century Italian Statuary marble mantlepiece of fine quality Small in scale and beautifully made in Italy around the year 1800. The exquisitely carve...

Handsome pair of sunflower form andirons in hammered tin and wrought iron believed to be English Arts & Crafts.

A compact and fine quality Regency Neo-classical Italian Statuary marble fireplace. This superbly carved, pure white statuary marble fireplace was produced in Rome, Italy, approximat...

Just discovered from an old Kyoto area garden and now in our Kyoto warehouse. Call or message us for details or to reserve. For the finest garden- an exceptional and spiritual rep...

Large work of garden art, 18th/19th century, 200 years old Japanese stone rectangular plaque Jizo Bosatsu in unusual "double Jizo" Desojin panel form. It stands tall in a fine m...

Museum Piece. Now in our Kyoto warehouse awaiting shipment. Call or message us for additional details. Japan, an early “Christian” granite stone lantern with weathering from gre...

Hand carved Italian marble fountain fill in the form of a Putto head. A wonderful architectural treasure. Can be used as originally intended or as a great ornament.

19th century cast iron and brass fire dogs or andirons Blacked iron with polished brass finials. Salvaged from a London Victorian Town house.

A 19th century Belgium bluestone planter.

A wonderful Arras Garden chair, dating to the late 1890's. The chair is in superb condition, we believe it is a folding chair, but the years of paint have set the chair in the open p...

A stunning pair of columns or a pair of terracotta stands painted with an oriental scene on one and a Japanese scene with two cranes in a pond and water lilies on the other. French w...

Once used on a provincial Chinese farm to hold water or animal feed, this early 19th-century stone trough is celebrated today for its organic form and rustic authenticity. Hand-carve...

Ancient antique fireplace in white Carrara marble, richly hand-sculpted with floral and leaf decorations, built in the 19th century for a palace in Italy, maximum external measuremen...

A fine French 19th century, Whimsical Rococo style white marble carved planter Jardiniere with figures of playful putti and cherubs among ribbons and fruit vases, raised on twin pede...

These 19th Century French Wood Columns, offered as a pair, are an exquisite find for anyone with a passion for classical architecture and vintage decor. Each column stands tall with ...

Two Blue, brown and gold lacquered wood columns hand-crafted in Italy in late 19th century, they were in a noble Sicilian palace at the four corners of a large hall, there are 4 colu...

Spectacular cast iron Victorian Aesthetic Movement Garden Urn. In excellent antique condition with tons of patina, and no breaks or bad repairs. Amazing pair of handles all original ...

Antique French Store Counter Repurposed by our Old Plank Artisans into a Country French Style Kitchen Island. The Antique White French Oak...

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...

18th / 19th Century Oval Brass Planter with liner, includes band of copper around middle that elevates the look. Has brass handles on either end. He...

Matched pair of English lead planters with classical garland and urn detail on all sides. Generous size and gorgeous presence. Very heavy.

Beautiful iron conservatory with some glass inserts. Top opens on hinges. Measures: 27" H x 30" W x 20" D.  

A Spanish aged clay pot from the 19th century. This Spanish clay pot features a spout at the base, great for draining. The general color is light brow...

Italian Architectural Element Giltwood 19th Century Carved Corona Crown Large gilt-wood element, featuring decorative acanthus leaves, carving around the...

Decorative original antique door. The side of the door that was originally visible to the outside, is made of solid oak and the other side of th...

This Plant Stand is a piece that exudes the timeless charm of Mid-Century style. Featuring a palette of pastel hues characteristic of the 1950s, this stand is more than just a simple...

Exquisitely hand painted ceramic wall tile, Persia, 19th century, antique architectural salvage building element, beautifully colored artwork depicting bird with flowers. Provenanc...

Shop Salterini Garden Furniture and Woodard Garden Furniture listed here or other vintage wrought Iron Patio Furniture Pieces online at our 1stDibs Store Front. Our vintage wrought iron outdoor furniture pieces are available now and ready to ship for your enjoyment. Vintage wrought iron Patio Furniture is an excellent choice for your newest patio design or to add additional outdoor wrought iron furniture pieces to your vintage wrought iron Patio Furniture Collection. Wrought Iron Outdoor Patio Furniture is Classic and Timeless in style and made to last decades. Shop our sustainable vintage outdoor living garden furniture seating arrangements today and add style to your outdoor living space while being kind to the planet. All of our Vintage Salterini Wrought Iron Patio Furniture pieces are hand selected and one-of-a kind awaiting to be enjoyed by you in your favorite outdoor space. Add this to your cart today or "Make an Offer" now to reserve space on this month's delivery route. View other in-stock and ready to ship Vintage Salterini Wrought Iron Patio Furniture pieces including complete vintage wrought iron conversation sets, vintage Woodard Wrought Iron dining sets in popular patterns like Chantilly Rose and Orleans, vintage wrought iron Salterini Peacock Chairs, Woodard Wrought Iron Arm Chairs, Vintage Wrought Iron Patio Bar...

18th-19th century French Neoclassical fireplace grate made of brass and wrought iron. The fireplace grate is in a good condition and is fully functional.

Very rare and highly decorative, architectural cast iron vase. If you are a private collector or an interior designer with an eye for the rare and wonderful, then this very rare and timeless garden vase could be perfect for your home or for one of your projects. You may have seen French terracotta Anduze vases before, but we are pretty certain that you have never seen one made of cast iron. This large and possibly one of a kind specimen of cast iron has a wonderfully calm design and it is hand painted in a beigy-gray color which makes it even more timeless. Handcrafted using cast iron...

Large, impressive and all handcrafted, 19th century wooden column. Thanks to its classical and perfectly geometrical design, this column pedestal can be used and enjoyed in all kind...

*Very special piece, possibly unique. A jewel Fireplace Andirons dogs, fire dogs The back is made of wro...

A French wrought iron freestanding firescreen from the late 19th century with warming holders and C-scrolls. Born in France during the Belle-Epoque era, this firescreen features a wr...

French polished brass jardiniere or container with liner on feet, 19th century.

Functional and beautiful 19th century French Napoleon III roasting jack made of cast iron, wrought iron, brass and copper. It is used for cooking in a kitchen fireplace. The set cons...

A 'pot-bellied' garden urn in grey-lacquered cast iron, and decorated with egg and dart mouldings round the lip, and classical gadrooning below. This eye-catching antique planter sit...

Black Forest Pair of Jardinière’s hand carved in Switzerland during the late 1800s. The Jardinière’s are complete with their original metal liners and are ready to be planted. Black Forest Furniture first began to appear in the mid-1800s in Brienz, Switzerland and originally only included small Black Forest animal objects made for the tourist trade. In the late 1800s, as tourism traffic increased, so did the number and Size of Black Forest Carvings and soon thereafter was followed by Black Forest Furniture. As luck would have it, Old Plank has recently discovered a treasure Trove of Black Forest Carved...

Offered is this very decoratively decorated wooden column from the end of the 19th century. This pillar makes every object placed on it stand out and stand out. This very decorative whole can therefore be used for multiple purposes. This item can be used as an object as well as a plant column...

Pair of antique Empire Neoclassical Swedish pedestals painted ebony with gold accents.

Ancient bathtub in white Carrara marble, carved with fake handles and oval shape, ashlar edge, suitable for both indoor and outdoor use and garden furniture, handmade in Italy in the...

19th century Spanish large terracotta olive pot. Unearthed from a very large family run olive oil producing business in southern Spain. Beautifu...

An antique Victorian porcelain sink with a decorative cast iron wall bracket. With scallop dishes and Shanks & Co taps, this elegant sink would make a stunning new addition to a vint...

Wonderful example of a giant clam shell from the Indian Ocean. The bleached white color and high profile of the scallops make this a distinctive centerpiece or decoration. This speci...

19th century Dutch Napoleon III firewood basket holder. The log holder is made copper. Also called 'Frisian nail bucket'. Was used for the transport o...

A rare pair of 19th Century cast iron garden planters of rectangular form with canted corners, surmounted with beautiful foliate, scroll and stylised shell motifs. Raised over everte...

A French stone Provençale jardinière from the second half of the 19th century, with low-relief carved scenes and handles. Born in Provence at the end of the reign of France's last Em...

A collection of reclaimed encaustic tiles sourced from a UK private collection. This superb collection includes tiles by Minton, Maw & Co, W Godwin, and Campbell Brick & Tile Co. Da...

A French grape picking hod from circa 1890 with Château Villaret Vins & Spiritueux label, accented with a fleur-de-lys and the date 1854. Embrace the rustic charm and rich history of...

English Marble bust of Parliament gentleman displayed on a circular plinth. Signed by maker John Graham Lough, London Mid 19th Century. Lough sculp...

An attractive period English Regency limestone fireplace. The jambs and frieze with Greek key motif, the end blockings with carved lion's masks with moulded shelf above. Early 19th c...

Large Victorian cast iron and tiled fireplace grate. Circa 1880. Finished with traditional black grate polish and supplied with a new clay fireback and cast iron stool grate ready for a real fire. We can also supply a living flame gas fire for this grate too. Complete with embossed blue Victorian fireplace tiles...