Gothic Revival Furniture

Stunning 19th century Gothic art pendant with three gargoyle sculptures. This late 1800s church relic truly has an aura of religiousness about it...

Beautiful hand painted wooden tiles with checkerboard pattern, 14 tiles in total, 2 red, 6 black and 6 gold. Great as a wall installation or a small space paneling, made in Italy.

A medium sized octagonal wall mirror in gilt wood / oak. It was made in the mid-late 19th century Scandinavia - either in Denmark or Sweden. It features its original mercury mirror g...

Unique and meaningful Gothic Revival pendant with hand carved and hand painted masks. For the collectors of rare and quality crafted light fixtures, we also have this striking and meaningful 8 light, Gothic style fixture. This work of Gothic lighting art is decorated with two angelic and two slightly demonic masks opposite each other. In our view the artist who created this fixture is 'painting a picture' about the good and the bad, that is in everyone. Because of the meaning of light in Gothic and religious art, we feel it is no coincidence that a light fixture was the basis of bringing his message across. The design of this wooden fixture combined with the expressive and colorful mask...

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...

Gothic Carved Oak open bookcase with Cupboard by Old Charm A Charming little piece dating from about 1920, the bookcase has an adjustable shelf and a long cupboard...

Pair of antique Neo-Gothic style oak church altars.

Beautiful weathered white marble statue representing Saint John the Evangelist. Christian tradition says that John the Evangelist was John t...

Antique and good size Gothic Revival light fixture. If you are looking for an out of the ordinary chandelier then this antique European light fixture in the Gothic style could be p...

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...

Rare antique wood hand carved gothic revival child settle / small hall bench / foldable Library Ladder, Metamorphic Library steps, 1880s This uniqu...

Pulpit in oak with double flight of stairs richly carved with monsters.

Wonderful Mediterranean triple mirror. Great arching design with finials, scroll, and bead work. Massive in size and weight. I can deliver curbside to NYC...

A fine four piece Gothic Revival sideboard in quarter sawn oak, with shaped molded edge top surmounting three fitted frieze flatware drawers, surmount...

Good size, partially gilt and great looking Gothic Revival bracket for displaying a Saint statue. This Gothic console for wall mounting da...

19th century French Gothic revival commode ~ chest of drawers in stripped oak will make a fantastic choice as your primary storage vessel for clothing. Designed with four drawers rat...

Rare 19th century Gothic church altar stand with cloisonné Agnus Dei symbol in a bronze quatrefoil. This rare, late 1800s, brass sculpture stand...

Magnificent and rare pair of Gothic Revival stools. Striking Dutch design from the 1900s. Solid hand-carved oak base with re-upholstered leather seats. This wonderful pair of Goth...

Fabulous period of Gothic revival brass fireplace fender with dragon serpents and finials. Great for the seaside home where it most likely sat for decad...

Late 19th century brass 4 arm chandelier with acanthus leaf, Foliate and Gadrooned Decorations 18" x 18" x 38"h.

19th Century French Gothic Sacrament cabinet was artfully sculpted from solid oak and fruitwood to create a remarkable religious artifact designed to be appreciated throughout the ages! The trapezoidal form of the casework is in keeping with the Gothic style, which historians concur originated in the Cathedral of St. Denis during the middle of the 12th century. Boldly molded crown follows the complex contours and overlooks the case below which features a single door flanked by cornerposts that feature pilasters facing front as well as the sides, with recessed arched panels topped with recessed circular frames above filled with carved rosettes highlighted in gold. The arched recesses facing the front are also filled with carved floral and wheat motifs also highlighted in gold, representing the Bread of Life. The door panel, however, steals the show, with a gloriously carved relief work depicting both wheat and fully laden grapevines adding the significance of the Blood of Christ...

One of a kind and very special Gothic Style table from a former Dutch Colony. If you are looking for a beautiful antique sidetable to grace your liv...

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

Magnificent Basque regionalist armchair from the end of the 19th century in leather and solid oak. Significant wear of the leather on the seat, beautiful patina. The structure of the...

Antique Gothic display plaque with Swords & Double-Headed Eagle is an ideal choice to accessorize the masculine decor! The panel was rendered in...

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

Large Gothic style mirror in walnut carved with busts of characters, dragons, salamanders, snails and oak leaves. High quality 19th century French work. This mirror is in good condit...

Re-purposed as a holder for large candle or delicacies. Conceived as a Gothic Revival architectural ornament probably a finial. Shaped t...

A unique bronze, iron and marble telephone stand (better use today is a bar cabinet) Attributed to New York Designer and Manufacturer, Oscar Bach. Stand has an marble top with a heavy veining and a bright finish. The door in the front has ornate bronze figural work with green enameled steel-panel backdrop, framed by green enameled wrought-iron frame. Similar treatment to either side. The back has a slot with slip in a door to allow for the telephone cord...

Truly impressive and great workmanship, hexagonal Gothic light fixture. If you are a collector of truly amazing Gothic antiques then this large a...

Stunning, monumental, Italian, wrought iron torchere with 5 torch or candle holders and decorative scrollwork. Measures: length 56cm., 22" height 162cm. 64" 5ft 4" depth 15cm., 6"...

Magnificent and ultra rare Gothic Revival cupboard. Striking Dutch design from the 1950s. Solid ash with a integrated patinated brass clock and patinated wrought iron hinges. Deco...

Imposing chandelier / suspension / pendant in oak, composed of 3 branches with at the end of each a jester / buffoon holding a lantern. The branches are joined by a turned wooden baluster...

Large size and excellent quality, solid oak Gothic Revival light fixture. If you have visited Gothic churches then you may have immediately recognized some of the wonderful desig...

Meaningful and perfectly hand-crafted antique church relic. This religious work of art dates from the earliest years of the 20th century and you could not wish for a better condition antique. This finest of holy water font plaques could not be in better condition, but that is also because it was all handcrafted out of the best materials only. Even the hand sawn, square nuts on the back are gilt. And the cross-like hook with the French Gothic fleur-de-lis ends with the ring on top (for easy mounting this gem to your wall) is another detail that shows us that no expense was spared when this antique was hand-crafted all those years ago. Whenever we find religious antiques of this quality and excellent condition, they usually were made for and used in either a church or a monastery (also, because that is where the budget was for the best quality pieces). The quality and the finish of this church relic really is among the best we have ever seen, but the quality of and the details in the sereen Mother Mary...

This large Neo-Gothic style stained glass window represents a great hunting scene with two men on their horses, hunting deers. Both men, wealthy squires, wear medieval costumes...

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

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...

Beautiful antique French oak gothic revival bench or Settee with Lift-Top Seat and Storage~~HIGHLY CARVED ~~c. 1880s Spectacular design with cup and cover arms~~wonderful spoon carved...

One of a kind, large and beautifully handcrafted, work of religious art. An antique bronze crucifix corpus of this size is a rare find and to have been given the opportunity to purchase one of such beautiful quality and details more than made our day. The striking anatomy and the unique patina of this large wall sculpture of our Lord Jesus are truly marvelous and we could see this antique go...

Pair of carved lamps in walnut figuring hilarious jesters / clowns, seated on a column. Neo-gothic / Gothic revival style, France, 19th century Excellent condition, cleaned wo...

Royal House Antiques Royal House Antiques is delighted to offer for sale this lovely suite of six original Gothic Revival hand carved English oak dining chairs...

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

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

Impressive and all handcrafted, Gothic light fixture. If you are a collector of rare and all handcrafted Gothic antiques then this one of a kin...

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 ...

Neo-Gothic walnut armchair, 19th century Large neo-Gothic walnut armchair, 19th century, cathedral seat. H: 126 cm, W: 63 cm, D: 50 cm

This dining room consists of a dresser, three sideboards including a pair of small open sideboards and a large sideboard with doors, a table, six chairs and two armchairs. In walnut ...

This Mid-Century Modern era swag or hanging light fixture is unsigned, but presumed to have been made in the United States in circa 1965 in the Gothic Revival style. The light is com...

Gothic Modern gold-finish metal and frosted glass "fleur" motif lantern style pendants.

Tall vintage French Gothic Revival five light floor lamp featuring scrolled black iron with gold acanthus accents and a five arm candlestick cand...

We are delighted to offer for sale this absolutely stunning, Victorian circa 1860 hand carved English oak centre table with recumbent lion legs A very good looking well made and d...

The mentmore towers, stateroom curtains magnificent & exceptionally rare set of three, massive, Gothic Revival, silk velvet, rust coloured, embossed & gilt embroidered & applique curtains Exceptional Provenance : The Staterooms, Mentmore Towers, Baron Mayer Amschel de Rothschild, Mentmore Towers. Bernard Nevill (1930-2019), Fonthill, Wiltshire acquired from the Mentmore sale Sotheby Parke Bernet, Mentmore House, May 1977 Ilustrated World of Interiors, Positively Victorian, 20.02.02 The silk velvet embossed...

Rare hand carved stone Wellhead cistern Basin Antique Fountain Focal point LA CA. 19th Century Neogothic Water Wellhead hand carved stone planter Basin ...

Wonderful Gothic architectural print. Steel engraving by R.P. Cuff after the original drawing by John Ruskin. Published circa 1880. On wove quality paper. Unframed.

This Gothic Style screen comes with a pair of fire spitting dragon sculptures. If this beautifully handcrafted, early 20th century firescreen is the right style to fit your firepl...

19th Century French Gothic Credenza is a remarkable work of the cabinet maker's art, featuring tailored architecture melded with the timeles...

This cabinet French oak and glass vitrine is a very good quality copy of the gothic style. It was made by the enterprise Mercier Frères circa 1920. Mercier Frères is a Parisian carp...