Gothic Decorative Objects

Superb set of 5 wrought iron wall sconces, representing a winged dragon holding a torchiere / a torch. Good quality of manufacture: well-made subjects, beautiful patina of the met...

Antique crucifix with stunning hand carved details and an amazing patina. This remarkable and good size crucifix with a sculpture of a suffering Christ on the cross is another one...

Early 19th century Gothic brass skeleton clock on wood base with glass dome. Bell on peak with steeple design and halberd hammer. Painted metal fa...

Gothic architectural fragment representing vine leaves France, 15th century Sandstone H 21 x 21 x 17 cm mounted on a modern metal pe...

The item on sale is an original Gothic candelabra that dates back to the 1500s. It was expertly handcrafted from brass and consists of two parts that...

Elegant table / desk lamp in wrought iron, figuring a winged dragon holding a torch / torchiere. Beautiful metal work: subject well done, beautiful verdigris patina. Neo-Gothi...

Keep your jewelry or important documents locked up in this fine, antique safe from the Champagne-Ardenne region of France. Crafted, circa 1880, the safe is cast iron and has a chic two-tone black and silver paint finish. The travel safe features a heavy handle on the top and is decorated with studded hobnails throughout. The front door is decorated with a plaque which reads "Incombustible Systeme Bauche Brevete SGDG Usine a Gueux Marne" engraved on the surface. The decorative box is in excellent condition commensurate with age and use and adorns a rich two-tone black and silvered patinated finish. Place the unique, secure safe in your office, study or even a men's dressing room for a display of strength and heritage. Original key included. In 1879, Bauche demonstrated the efficacy of his fire safes...

ITALIAN PROCESSIONAL CROSS 17th Century in cut brass and bronze. Mounted on a wooden back base. Usage signs. Dec. Height: (total) 50 cm; (Ch...

This is a tall wrought iron candle holder/torchere that ends in a tripod base. Each leg of this base is adorned with large scrolls that...

Gothic style of Laxenburg so called after the "Laxenburg Castle", the favoured summer-residence of the Austrian Emperor of the house of Habsburg. Material used is carved wood, gilde...

Early 19th Century Continental Brass Skeleton Clock on Wood Base with Glass Dome. Silvered chapter ring with Roman numerals. Measurements: Clock -...

Early 19th century Gothic brass skeleton clock on marble base with glass dome. Three steeple pediment. Silvered metal face with Roman numerals. Op...

Early 19th century Continental brass skeleton clock on marble base with glass dome. Silvered chapter ring with Roman numerals. Measurements: clock...

Saint Ambrosius Italian sculpture 17th century in painted and gilded wood. The figure is represented standing up blessing with the hand. Faults and defects. Dimensions. Heigh...

Antique large crucifix with stunning quality, hand carved details and an amazing patina. This remarkable and large sculpture of a suffering Chr...

Antique 18th century fruitwood carved Memento Mori Skull. The skull of petrified display powerfully carved in the form of a human skull consisting of the cranium, upper and lower jaws, the cadaverous face with deliberate missing tooth in brown wash patination throughout. Stood upon a small marble base with the skull attaching via a dowel fitting. The Skull probably from German origin. Notes  From approximately the sixteenth century, skulls were commonly used to remember death as they symbolise the transience of human life. Memento Mori literal Latin translation means remember that you [have to] die. The concept has its roots in the philosophers of classical antiquity, and appeared in funeral art and architecture of the medieval period. Memento Mori jewellery...

Acquired in Paris France, an architectural element that is solid brass. The piece is very detailed and architectural. A wonderful paperweight or decorative object standing alone... also could hold office supplies...

This extraordinary museum piece Enthroned Virgin Mary with the child on her lap comes from the Rhone region in France. The saint symbol and protector ...

Elegant and stylish, Gothic style gilt bronze vanity mirror. France, 19th century Beautiful antique gold patina, fine details, unusual trefoil foliate and berry design. Well propo...

Crafted in France circa 1760 and resting in a carved oak niche, the figure depicts the prophet Moses, the most important prophet in Judaism and Christianity. Moses is best known from the story in the biblical Book of Exodus and Quran as the lawgiver who met God face-to-face on Mount Sinai to receive the Ten Commandments after leading his people, the Hebrews, out of bondage in Egypt and to the "promised land" of Canaan. He is represented with horns on top of his head. The horns came about because of an ambiguity of the Latin version of Exodus 34, 30. After being addressed by God on top of Mount Sinai and given the Tablets of the Law containing the Ten Commandments, Moses descended to his people in the desert. His face was seen to shine with a divine light. (The first Moses with horns was commissioned in 1505 by Pope Julius II for his tomb; it was based on a description in chapter 34 of Exodus in the Vulgate, the Latin translation of the Bible used at that time). The religious and biblical item...

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

Italian Romanesque 12th century marble recumbent lion 12th century Italian roman marble lion  with a stylized mane and tail wrapped around its body a...

19th Century Arts and Crafts brass planter This is a good quality brass piece, it is hand beaten, the brass has a very dark patina, it almost ...

20th Century French or Gothic inspired 12 light candelabra. Features a scrolled design with pedestal and molded flower at the center. Each candle holder features a drip pan. The cand...

Rectangular body casket with semicircular lid made of carved wood and covered with a worked leather that has been reinforced with a series of forged iron fittings, material in which ...

Mid 17th century Northern European carved figure of a saint. This striking statue depicts a saint who is dressed in robes, whilst holding his hand over his heart. This figure is freestanding and is stood within a leaning position which makes him stand out. It has been beautifully carved from oak and has remnants of its original paintwork. Likely to have stood within a church for many years and would have been removed due to renovation reasons. This historical figure...

English Gothic Revival-style (19th Century) bronze dore altar stick.  

An American Gothic Revival bronze and enamelled box/humidor. By Edward F. Caldwell & Co. Inc., New York, first quarter of 1900s. The rectangul...

Pair of finely cast 18th Century Coade Stone gothic stoops. In super condition, stamped 'Coade London', these are glazed internally, for holding water which is an unusual design for...

This wood Christ bears signs of time without diminishing its grace nor its interest. This Christ presents some characteristic of the previous century. While the feet are missing the position of his legs, parallel one to the other, let us think his feet where placed side by side as in the 12th century’s crucifix. The remains of his perizonium let us guess the cloth was very short, displaying the knees and a part of the thighs. The figure is straight, the arms horizontal, the hands open -with tha palm then pierced by nails- and the thumbs parallel to the other fingers as in most of the 12th century’s Christ on...

This fine amber sculpture depicting Jesus Christ is a very rare object. Exemples of this sort can only be found in Germanic countries. Already used during Prehistoric times, amber have always fascinated people. Because of the virtues associated with this material amber was carved as amulets and prophylactic ornaments. As an expression of luxury and means amber was also used for adornments and small figures collected by the upper classes. This fossilized resin was picked on the Baltic Sea shores and soon entered a intense trade system. From the 14th century onwards knights of the Teutonic Order...

Provenance : - Kunsthaus Heinrich Hahn, Frankfurt am Main, sale 16, June 17, 1930, lot 16. - Sotheby's, Amsterdam, Feb. 26, 2006, lot 201. HISTORIC Located between Moselle valley and Meuse valley, framed by the Vosges Mountains on the south side and the duchy of Luxembourg on the north side, the duchy of Lorraine is the result of several partitions. It starts with the 9th century when the Carolingian empire is divided, with Lothar 1st inheriting Lotharingia. In 959 this territory was in turn divided in two; Lower and Upper Lotharingia, the latter being the forebear of the duchy of Lorraine. This duchy was under the rule of the Holy Roman Germanic Empire until 1736 when it was absorbed by the kingdom of France. All along its history the duchy of Lorraine has found itself in the midst of many conflicts. Alliances and feuds marking European history were always particularly sensible in Lorraine where instability was frequent. Because of its geographic position the duchy of Lorraine was also an artistic crossroad. Hence the duchy of Lorraine becomes from the 13th century onwards an important artistic centre where a particular type of Virgin and Child appears. According to professor J. A. Schmoll the characteristics of Lorraine sculpture burgeon around 1280-1300 in the Aube region. It presents “vigorous volumes, restrained movements, rare but solemn gestures and a strong interiorised and stern expression”. Those Virgins look similar with a wide forehead, a shield- or oval-shaped face, large neck, small lips and a cleft chin. This model is particularly in favour during the 13th century because of the revival for Marial worship and for the theme of the Virgin and Child. It bears witness to a new religious sensibility with a more intimate vision of religious practice. DESCRIPTION The important 14th century Virgin we present to you is one of the most beautiful examples of sculptural art from Eastern France, with her fascinating distant gaze. Her contrapposto posture is induced by the weight of the child she carries high on her left side. The child has a chubby face framed by blond hair with well defined curls and he wears a long red V-collared tunic from which emerge his feet. The fabric is animated by long folds. The position of the right foot turned to the back is a detail we can notice on several Virgins from Lorraine. He holds a bird that seems to be pecking his thumb. “The bird /held by the child in his hands/ has been read as a reference to an episode from Christ’s childhood when he has moulded sparrows with clay before giving them life. It appears in the apocryphal gospel of Pseudo-Matthew (ch. 27) and later in the Quran (III, 43, v. 110). However the iconography seems to be more influenced by the concept of Redemption or of Eucharist, the bird symbolising the soul of the Christian about to be redeemed or revitalised.” Mary wears a long dress with two rock crystal cabochons remaining from the original five. She is covered by a red cloak enriched with old-gold motifs draped as an apron falling in long pleats along her left hip. The relief treatment and the volume of the cloak developing a network of concentric pleats contrast with the the flat pleating of her dress. They nevertheless suggest the curve of her bent right leg. She wears a floret crown securing a short thin veil carved in very low relief. From it emerges her blond curled hair characteristic of the 13th century. The large face with almond-shaped eyes, straight nose, small lips and cleft chin casts its gaze afar in a fashion typical of 13th century Virgins. In her right hand she holds a lily flower. In a very refined manner the artist has carved a band on her right ring-finger. In the back, carefully sculpted, spreads the minutely detailed short veil. COMPARATIVE STUDIES This sculpture of great quality presents obvious similarities with Virgins from Lorraine, designated by William Forsythe...

San Antonio Abad, Castilian school of the 15th century (1440-1501) Carving in polychrome wood, measures: 45 x 15 cm good vintage conditions.

Seating on a bench-like throne the Virgin carries her child on her left knee. She bears an important crown high on her head .The Virgin has an ovoid face with bulging eyes, straight long nose and thin lips. The hair parts in the middle and are carved as thick horizontals parallel hair strands...

The Saint depicted here is Saint James the Great. James is the brother of St. John the Evangelist. Nothing is known of his activities after the Ascension...

This Virgin and Child is wearing clothes with a limited number of folds and showing a thickness characteristic of the Burgundy region. As a result of the presence in the region of th...

While the birth of Christ is briefly told in the Gospel of Luke (2, 7) it is in the apocryphal texts that we find most of the elements and details that have then inspired artists. As of the 14th century and even more of the 15th century the subject of the Adoration of the Child replaces in Western art the scene of the Birth, much favoured in Byzantine art. Instead of being depicted lying with the new-born swathed in the manger, the Virgin is now kneeling, her hands joined in prayer in front of the naked child. This change was probably hastened by the popularity of the visions of Saint Bridget of Sweden to whom the Virgin allegedly appeared to show how she had given birth to Jesus (Visions, VII, chap. 21). Sheltered by a thatch-roofed structure the Virgin is kneeling in front of the Child Jesus. She wears a magnificent red dress under a large gold cloak. Her curled blond hair is partially veiled. The newborn is lying on a straw mat. Joseph is depicted with a parted beard and stands opposite from the Virgin. He wears a tunic and a coat with a purse hanging from the belt. His costume reminds us of the long journey him and Mary have accomplished to reach Bethlehem. Two other women are present. One is looking through the stable’s window to observe the Holy Family while another one kneels in prayer in front of the divine child. The rich costume of the lady might indicate she is a donator. However they could also both represent the women who took part in the birth of Christ, Zelemi and Salome. Salome, incredulous did not believe in the virginal conception of Mary and she is represented far from the scene. The artist has depicted her with an expression of doubt on her face. Zelemi, on the contrary, is a believer. She is rewarded by a place of honour at the heart of the scene, close to Mary. To the left the donkey and ox that have accompanied Mary and Joseph to Bethlehem observe quietly the scene. On the foreground two angels hold a scroll reading an excerpt from the Gloria : “/Gloria/ in excelsis /Deo/.” One of the angels wears a blue cape while the other’s is red Those two colours are very significant as during Middle-Ages blue symbolises hope and red charity. Together they express the hope in redemption thanks to the advent of Christ and his sacrifice to come. Above the main scene, up a cliff, a small shepherd lets his herd of sheep graze amidst the trees. He is framed by two walled cities. This wood carving is the work of a very skilled and inventive artist. The piece bears witness to his exceptional talent. The realism of the scene is emphasised by the amount of details depicted. The refinement of the carving itself is highlighted by the well preserved polychromy. This key moment of the New Testament is set in a contemporary context thanks to the clothes of the characters and the scenes of rural life. The universal dimension of the scene is intensified while allowing contemporary viewers to grasp its meaning more easily. This care for details, the picturesque realism as well as the extraordinary rendition of the cloths suggest it was made by a Flemish artist during the late 15th century. This relief can be compared with the panel of the Nativity from the Saint-Vaast altarpiece made by Jacques Daret between 1433 and 1435, today in Madrid’s Thyssen-Bronemisza Museum. Literature Louis Réau, Iconographie de l’Art chrétien...

This very pretty hand painted and gilded porcelain vase is attributed to Minton, from their "Gothic Pedestal Ornaments" range of the 1830's. It features a hand painted spray of a pro...

Bronze candlestick. Century XVI. Polished bronze candlestick with a wide circular base from which arises a truncated cone axis opening into a smooth plat...

Exhibition Museum Cantini, 1952, The art of the Middle Ages in the Marseille collections, n°101 Provenance Former collection Louis Bresset (before 1952) Former collection Profe...

This wood scultpure showing fine traces of polychromy depicts John the Baptist, one the Old Testament’s last prophets and the first martyr of the New Testament. He is easily recognizable with the lamb he is carrying in his left hand. The way the artist has carved the face exudes a spiritual strenght inherited from previous centuries. Description Saint John the Baptist is depicted bare feet, seated in a hieratic manner. His elongated face is marked by a beard and a moustache. The straight nose and wide eyes indicate a Spanish origin. This asumption is reaffirmed by the Saint’s resigned expression. His parted hair frames his face while uncovering his ears. He wears a round collar red-orange tunic, draped onto the body and belted at the waist. A flap of his green coat covers his knees and falls down in stylized pleats. Following iconographic rules Saint John the Baptist is pointing with his right hand the lamb seated...

This face with prominent eyes, open mouth and beautiful hairs with symetrical undulations may be the face of the Archangel Gabriel.  

French Sarreguemines style glazed ceramic urn with griffin handles. Handsome French sarreguemines style glazed ceramic urn, vase vessel with grif...

This carved oak woodwork was probably placed on the facade of the house, close to the roofing framework of a Norman house. The sculptor had depicted the salamender frontview in a sty...

Large scale gothic bronze candle sticks. Twist column on triangle base holds large sconce dish top. 30.75" tall , top sconce dish has 7" diameter.

A fine antique limestone carving. Modeled as a Madonna. With her head slightly tilted, holding an orb in one hand, and with her other hand resting on her breast. By repute ...

Great pair of 19th century candleholders. If you are looking for a stylish and small pair of church candle holders to create a special atmospher...

A stunning English, early 19th century, carved wood fragment in oak, detailing a lions mask with a garniture of oak leaves and acorns and the outer frame work with scrolling acanthus...

French Victorian Gothic-style wrought iron double inkwell with (later) crystal wells and filigree back-rail. (with calendar stand) (PRICED AS SET).  

Antique English wrought iron dragon motif pocket watch holder.

Pair of English Gothic Revival-style (19th Century) gilt bronze 9 arm candelabras (PRICED AS PAIR).  

Grind spices in your kitchen with this beautifully carved, antique mortar; crafted in France, circa 1850, and made of bronze, the bowl is round in shape with a wide mouth at the top, and decorated with engraved floral motifs. The decorative kitchen essential is in excellent condition with rich patinated gilt finish and has the original 8 " bronze pestle...

Beautiful and rare Gothic Revival treasure box with bronze handle. If you are a collector of antique boxes and/or if you are looking for an extraordinary jewelry box to grace your credenza or side table then this unique and top quality made specimen in the Gothic style could be perfect. Gothic Revival boxes are very hard to find and we have never seen one with such prodigious carvings on all sides. The unique and cat-like dragon gargoyles (with fangs) that look like they are carrying this casket, are just some of the stunningly carved and detailed sculptures that make this antique rarity even more artistic and impressive. Another great feature are the peacock sculptures. In Christianity the peacock is the symbol of purity. Christians believe that once someone has passed their soul rises and goes to heaven. This is why in earlier times Christians would spread the feathers of a peacock over the deceased since it symbolized a pure soul that was immune to corruption. The peacock also represents immortality, resurrection, and the spiritual teachings of Jesus Christ and the Christian church. Have you also noticed the top quality details on both ends of the bronze handle on top? The quality of that ornamental work is of the absolute highest standard also. There are many more incredibly beautiful, hand carved details and together they show that no expense was spared to create one of the most amazing Gothic caskets...

English Arts & Crafts (Gothic Revival-style) mahogany and brass trimmed double inkwell with glass jewels and drawer.   

19th century crucifix or corpus Christi made from wood. Wooden cross with a nice patina and an exquisite shape. This item depicts the Christ in his last agony on the cross, after be...

French wrought iron black painted locksmith trade sign in the form of a large and elaborate key. The trefoil top filled with interlocking Gothic style quatrefoils (like four leaf clovers), with a ladder in the center joining them and a cut metal crest...

Gothic Style, very detailed crafted antique bronze box. Marked underneath, made in Belgium. In original good condition.

Rare and impressive work of Gothic art pottery. This most skillfully created and highly decorative work of Gothic art is very rare and of a great size. The impressive floral decor o...