Gothic Revival Furniture

Meaningful and great quality antique, relic bronze and marble wall plaque with holy water font, after the famous painting of Raffaello. This antique work of religious art from the late 1800s comes with an incredibly detailed, bronze Mary and Child sculpture...

A MASSIVE, 18 SEATER, LATE-19TH CENTURY, ANTIQUARIAN, REFECTORY TABLE, with an elm top, boxwood and parquetry frieze and oak base 3.68m 145" long - It is virtually impossible to source C17 and earlier dining tables with integrity which are more than 274cm., 108 inches long & period models are narrow around 70cm or 27.50 inches wide - It is very rare to find a table of this size with parquetry decoration which was only used on the finest pieces and is sophisticated elevating its status. - The massive elm top is made from over 10" wide, beautifully figured boards, 1 1/4" thick - The bulbous legs on this table are typical of those found on drawleaf tables that were made in the third quarter of the 16th century. The bulbous or vase-shaped legs were of Flemish and German origin, introduced into England by immigrant craftsmen and through published designs such as those of Dietterlein and De Vries. In early Elizabethan examples, the vase-shape is very pronounced, the bulbs generally being carved with acanthus and gadroons, and terminating at the junction with the frame in Ionic volutes as in this example. - The top is detachable and unusually the base of table can easily be dismantled unlike the 16th century examples whose immovable nature caused them to descend through many generations in the same family, and Evelyn observes in a familiar passage that both in hall and parlour long tables " were as fixed as the freehold " '. Consequently drawleaf tables still survive today in situ some of the great collections, such as Hardwick Hall, while others have passed into the hands of museums such as the Treasurer's House, York - Provenance : Private Collection UK. The Estate Of Wendy Vanderbilt Lehman, USA. Wendy was born in California to Manuela Hudson and Alfred Gwynne Vanderbilt II, a pioneer in thoroughbred racing, who’s father had gone down on the Lusitania. She was great, great granddaughter of Cornelius Vanderbilt, the historic tycoon known as The Commodore. Like many wealthy children of her generation, Wendy grew up largely in the care of nannies, and throughout her childhood she was shuffled between Palm Beach and the Plaza Hotel. Wendy experienced her first sense of belonging at boarding school, where she cultivated life-long loving friendship with her art teacher Betty Klein. She later attended Sarah Lawrence College. In her early 20s Wendy was widely sought after and photographed as a debutant. She was featured in one of Lilly Pulitzer’s first advertising campaigns and attended the Truman...

We are delighted to offer for this lovely pair of stunning circa 1860 hand carved English Oak with Stained glass windows, Library bookcase cabinets in the Jacobean / Gothic Revival taste A very good looking well made and decorative pair, it is very rare to find these bookcases as a pair and with the original stained glass windows, usually they were replaced as was the fashion in the Edwardian era. They are carved in the Jacobean and Gothic revival taste which is super decorative Each piece is carved from solid slabs of English oak, the back has traditional panels, there is one large door and working keys Condition wise they have been cleaned waxed and polished, there will be some patination marks here or there from honest age and use but nothing negative to note, all good charm...

Wonderful stylized Mediterranean Armoire. Deep raised tufted panels and scrolled pulls. Ample storage with extending hanging rod.

Stylish and highly decorative six-light medieval style pendant light. With early 20th century lighting as one of our specialities, we have seen a lot of great and unique fixtures, but never did we come across a handcrafted, mediëval style pendant with a standing knight or guard in the middle of the trefoil symbol (for the trinity). With his hands on his sword and wearing a full body armour this knight looks very much alert and ready to protect you and your loved ones. Have you also noticed the larger sword designs that make the stylized torches on which the 'faux' candles are placed? Handcrafted with forged and cast iron elements, this partially bronzed light truly is a joy to own and look at. If you have a room or an entire house in the Gothic...

RARE EXQUISITELY CARVED Antique French Oak Gothic Revival PAIR End Tables, Side Tables, or Nightstands~ Dragons~~c. 1880s FANTASTIC PAIR of tables or 2-tier nightstands~~HIGHLY C...

This 8 lights chandelier. is made of a wrought iron. This is a nice French work. Circa 1950

A 19th century French oak fully adjustable reading table in the Ecclesiastical Gothic style. Circa 1880. The table has a rounded rectangular plateau with two book rests, terminating...

A Gothic Revival style engraved brass rubbing, English or Continental, from the 19th Century. This is a beautiful piece with two figures who are dressed in elaborate clothing reserve...

Originally purchased from the eponymous West Hollywood design shop Hollyhock. A two part cabinet in a carved castle form with overall linear brick pattern. The castle with twin turre...

Antique cast iron single arm Neo-Gothic Medieval wall lighting fixture that sits on a triangular shield backplate. Gothic Revival lighting.

American 19th century pine large neo gothic arched window mirror with molded arched interlocking muntins. This beautifully shaped window has ha...

Fabulous pair of Chiavari Chairs grain painted to look like Rosewood. Fantastic job of recreating and imitating in the old world style. Caning is hand woven and in excellent conditio...

Two lovely 19th century paintings on board of Fra Angelico's angels from The Linaioli Tabernacle, 1433, where, when the tabernacle doors are open, can be seen in the arch surrounding...

Large & impressive antique French Gothic Revival church candelabras for 13 candles. Amazing details with lions feet, many carved decorations & ...

Fabulous and very decorative Gothic Revival painted cabinet on stand. First half of the 20th century. Provenance: Originally conceived as an...

19th Century Solid Mahogany Gothic Cathedral Chair. "En Memoriam M.M." carved on front below the quatrefoil design. Carved date on back panel Sept. 16th 1891. Brand new custom uphols...

French antique element from the decoration of a church. This also can be used as coat hooks for hats or coats. Currently this item does not have a fixing means, we are able to add on...

Handcrafted and truly beautiful Gothic chandelier for candles. In antiques it often is the case that the older a piece is, the better the quali...

Beautifully handcrafted, one of a kind, great color and excellent condition, Gothic cloister bookcase. We are always on the lookout for top quality made and impressively handcrafted...

Striking and meaningful work of religious art. This beautifully hand carved and good size Sacred Heart of Christ statuette is another one of our recent great finds. In our view the sculptor has perfectly managed to capture both the wisdom and serenity of our Lord Jesus Christ. All hand carved out of oakwood this Sacred Heart sculpture...

Wonderful gilded metal saint statue with beautiful expression, France, circa 1880-1900. Weathered. Measurements include the wooden base.

Early Victorian Gothic revival fireplace, in Devonian marble, the stop-chamfered jambs with shield corner-blocks. Opening width 92 cm x 96.5 cm, Outside jamb to jamb 134 cm wide. R...

For customers that require professional insured delivery we are proud to have teamed up with a nationwide professional delivery company that will assist with coordinating your delive...

Dating from the Mid-19th Century, this English antique cast iron fire grate or brazier is over 170 years old. It is highly decorative, cast in iro...

Museum quality and condition work of religious art with amazing, hand carved details. This amazingly hand carved wooden wall plaque is not only of great quality and condition, it also has a patina that is unlike anything you ever saw. Over the decades we have sold a number of unique and interesting crucifixes, but we had not yet come across one that is inside such a beautiful branches and leaf frame in the Swiss Black Forest style. For us to have found it in this amazing condition again felt like a blessing and we are grateful to be able it to offer it to our 1stdibs clientele first. At the centre of this Christian-work-of-art-wall-plaque and behind the original, mouth-blown convex glass 'window' is an even more detailed sepiolite sculpture of Christ on the cross. The details in this crucifix sculpture...

19th century Gothic double-sided solid pine exterior door was crafted from solid pine which has been fully stripped and ready for staining or painting to complement your project! The...

Spanish wrought iron gueridon end table / cocktails table standing on a tripod base, Spain, 1950s. Handcrafted in wrought iron. The top of this pedestal is heavily adorned by the ham...

Housing three lights, will be newly Re-wired with certified US UL sockets for the USA and appropriate sockets for all other countries and ready to hang! Incredible detailing. Adornin...

Stunning antique cupboard, gothic revival, carved oak, credence, foliates, 1800s, 19th century!! Gothic Revival oak credence cupboard, 19th century, canted case, carved with tracery and foliates throughout, having two small top cabinets, over central cabinet, open medial shelf, linenfold sides, rising on bracket feet, approximately 66.5" height, 49.5" width, 22" depth. Gothic furniture pieces are generally heavy and made of dark wood, with lots of intricate detailing and panels. The wood is usually stained or varnished in a dark colour, and any fabric used is also heavy, with materials such as velvet, leather or brocade. Gothic antique furniture...

Large group Antique French Gothic , Iron and Gilt wall sconce's,,, Wonderful design,, Strong presence,, Superior quality,, Beautifully constructed,, Wonderful gold gilt detailing,,To...

Pair of English Victorian Gothic Revival style oak pocket door panels with linenfold design and arch top (PRICED AS Pair).

Gothic Revival manner rough hewn hardwood stool, of T form with each end terminating in a carved and reticulated trefoil, with conforming velvet cushion, above three legs. Dealer: ...

An antique pair of Gothic Revival style dining armchairs by Grand Rapids Bookcase and Chair Company. Solid oak with carved and turned d...

19th century French Gothic Revival Walnut Bookcase ~ Bibliotheque is a study in craftsmanship that transcends mere cabinetmaking into the realm of art! Of course, it is a stellar dis...

One of a kind Gothic bench with deeply carved crucifix sculpture with A(lpha) and O(mega) letters. This striking, antique Gothic bench comes wi...

Gothic Revival; pine; wood; chairs; oak; 20th century; armchairs; dining chairs; dining room; england; folding seats; folding chairs; A set of six Gothic Revival armchairs, ideal ...

An exceptional Italian gothic renaissance revival style coffee table with a thick (0.75 inch ) glass top. The intricate design of this unique table is one of the best depiction of th...

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 French Neogothic Caquetoire ~ Cathedral Chair ~ Armchair is an intriguing design, originally intended for visiting dignitaries allowing a VIP his or her own special seat. Cra...

Wrought iron floor lamp street or patio light lantern French midcentury, circa 1970 Good vintage condition with only minor signs of use for its age. Classical style. This can be r...

Silverplate wall light in the shape of a bat with two supports for candles. The bat was a very popular animal during the late 19th century and really inspired all Art Nouveau designe...

Pair of very large French brass candelabra in the Gothic Revival style French, early 20th Century Height 327.5cm, diameter 115cm The truly...

Antique French Neogothic Armchair ~ Desk Chair is an instant classic! Such chairs were designed for work before the days of ubiquitous casters. The low wraparound seat back provided ...

A beautiful 19th century hand carved and painted partial git live edge wooden triptych retable church altarpiece, depicting "The Bible Parable of the Prodigal Son". The European antique, believed to be Spanish in origin, comprised of three gothic cathedral architectural steeple shaped brilliant gold gilded solid wood panels affixed with brass hinges, opening to reveal a trio of rich polychrome decorated religious folk art works. A most impressive display of Catholic Saint / Santos figures, one on horse, the other on donkey, red and yellow coat of arms shield with lion rampant crest insiginia, having later wall hanging wire hardware mounted on the center back painting, allowing for easy hanging, or freestanding to conveniently display the work on a console table, desk, or shelf. With beautiful, bright, rich coloring, warm hues, and distinctive rustic wood grain patterns on both sides, this remarkable example makes for a truly special, thoughtful one-of-a-kind gift, Communion, birthday or holiday. Highly decorative, exceptionally executed design, and unique sculptural silhouette add a touch of sophisticated artistic elegance and cozy relaxed warmth as antique decor,.or as a lovely addition to your home altar, prayer room or devotional shrine, while the folding form is the ideal size for use as a portable / traveling religous icon. Nicely aged patina over the whole., with age appropriate wear, light organically distressed finish, weathered, chippy paint loss, and striking craquelure only adds to the overall antique character and authenticity , historical depth, and European old world charm. Dimensions: (approx) Fully extended: 13.5" H x 17.25" W x 1.5" D Closed: 13.5" H, 3.5" D Provenance : A fine private Raleigh, NC estate. We love decorating with religious antiques, and currently have a large collection available for sale, including various 16th, 17th, 18th, 19th, and 20th century folk art, liturgical altar stick candlesticks, rare relics, altars altar tables, processional pole...

Spanish wrought iron floor ashtray or drinks / cocktails table standing on a tripod base, Spain, 1940s. Handcrafted in wrought iron. The top stands on a tripod base with twisting de...

SUPERB Antique English GOTHIC REVIVAL Oak Cabinet, Chest, or Wardrobe~~ONE OF A KIND~~HIGHLY CARVED with 8 Interior Sliding Compartments ~~c. 1880s This is a MUST SEE! RARE ...

This large Neo-Gothic style fireplace with hood was made at the end of the 19th century out of beautiful walnut wood. The jambs with semi-detached columns support a wide entablature. The carved decoration of the entablature is typical of the Neo-Gothic style: the wood is decorated with finials and pinnacles. The center of the entablature is decorated with a medallion that shows the letter "S". On the entablature there is a frieze of Gothic finials...

Museum quality and condition Gothic stand for saint sculptures. If only the best and the rarest is good enough for you then this architectural church pedestal...

Scultura in cemento colorato, vintage. rappresenta zampa di leone Stiloforo in stile Gotico. probabile copia da qualche Duomo o Battistero. risale agli anni 40. realizzata su calco i...

Pair of restored Witco Conquistador tiki dramatic high-back chairs in original red fur. These chairs are absolutely wild in the best kind of way. The original red fur fabric has a thick pile. This bright red upholstery adds drama to the high-back, iron cladded, hand-carved chairs. These highly collectible and hard-to-find thrown chairs were born of the jet-set era. The 1960s was the golden age of air travel and Americans were absolutely fascinated with “Exotica.” Ephemera from exotic tropical lands around South Asia were all the rage and gave birth to an explosion of tiki motifs in popular American culture. We have four of these chairs available, two arm chairs and two side chairs. This listing is for just the two armless chairs. The two armchairs are sold separate. We also have the matching dining table, sold separate. We have other Witco items available including conquistador chairs in new leopard upholstery, Witco end table, and Witco cat...

Greek icon of St. Luke the Evangelist, tempera on gesso on wood, depicting the evangelist with his symbol of the winged cow and writing the Gospel ...

Magnificent and rare Gothic Revival wine bar or sacristy cabinet. Striking Dutch design from the 1920s. Solid oak with hand-carved knights and hand-...

Antique French Gothic Executive Desk in Stripped Oak is finished on all four sides, and features timeless linenfold carvings on each of the cabinet panels, with horizontal linenfold panels...

A large size, antique sculpture of Corpus Christi. The sculpture is made of unglazed porcelain, signed and numbered on the back: Sachsen. The porcelain figure of Jesus hangs on a red ‘Royal Rouge’ marble cross...

A gorgeous Gothic or Renaissance Revival bar cabinet Belgium, Circa Late 19th Century Carved dark oak, with original iron hardware. Measures: 18.25"W x 15"D x 51.25"H. Go...

Unique Gothic pedestal with large brass rivots in church window-like patterns. If only the rarest is good enough for you then this good size, architectural church pedestal...

Large Arts and Crafts Brass Jardiniere with Lions Mask Handles A large piece and a great looker The pot is round and is made in brass with a beaten decoration and lions mask hand...