Gothic Furniture

Antique French Carved Oak Statue Niche St. Thérèse Gothic Shrine c1930. Direct from France, a remarkable antique carved oak Gothic shrine featuring St. Thérèse of Lisieux, her beaut...

A striking early 20th-century French sculptural fragment, carved in solid boxwood and depicting a raised arm and hand. The piece comes from a French workshop known for the productio...

French cast iron fireback of the 15th/16th century. From the early days of casting iron: a heavy gothic plate, four centimetres thick and over a hundred kilos, with finely cut detail...

A rare fragment of late Gothic craftsmanship from 15th‑century France, this carved oak panel reveals the architectural poetry of medieval tracery. The design features intersecting po...

This is an antique Stollentruhe (stile-and-panel chest) made of solid oak, originating from Southern Germany, most likely Bavaria, Upper Austria, or Tyrol, and dating to the early 17th century (circa 1600–1630). It is an early and exceptional example of the traditional stollen construction, recognizable by its tall, continuous corner stiles, heavy front panel, and strongly regional carved ornamentation. The chest is fitted with an outstanding and completely original chest lock...

A very rare, fine large Edward F. Caldwell jeweled champleve enamel folio cover in the High Gothic Style. The central panel depicting a King on a white horse holding a large orb with a snake symbol, surrounded by exquisitely detailed Gothic heraldic elements and jeweled embellishments. Burgundy velvet lined interior, retaining original leather backing and spine, wear commensurate with age, ideal for a museum or private collection. Measurements: 13.63 inches high, 11 inches wide, 1 inch deep Condition: the enamel panel is in excellent condition, age appropriate wear to velvet, leather and interior pages. Please note, the enamel panel may be removed and mounted on a modern folio if desired. This piece may be framed or displayed as a decorative panel on a stand Edward F. Caldwell & Co was established in 1895 in New York City at 31 East 17th Street and quickly became one of the premier designers and manufacturers of fine lighting and decorative objects. Their commissions included J.P. Morgan's residence, Saint Patrick's Cathedral, Vanderbilt Mansion, Henry Clay Frick residence, Harvard Club...

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, gilded.

This 19th century Gothic religious item from France is worked in warm brown wood. Its design carries the Gothic idiom through in its proportions and detailing. As a religious item, i...

20th century French Gothic Style fireplace basket - fire basket made of wrought iron and cast iron. The basket is in good condition and is fully functional. The total width of the fr...

Antique (19th century) French ormolu bronze jewelry casket from the Gothic Revival period, inlaid with oval green stones with lined interior, retailed by the revered Parisian tableti...

This finely carved wooden panel from Belgium, dating to the 16th century, exemplifies the restrained geometry and rustic elegance of Gothic domestic ornamentation. Hewn from solid oa...

French coffer or chest made circa 1900. Decorated with carved flowers style. The design of this chest is deliberately rustic. The interior is lined with fabric. Very decorative and ...

A rare and historically significant Dutch brass candlestick of the Heemskerk type, dating to around 1525. This early 16th-century example features a pronounced mid-drip pan with slig...

A rare and impressive English Gothic Medieval style Cabinet, Circa 1714. Built during the reign of King George I in honor of Hugh Lupus the First Earl of Chester and his castle. Hu...

Impressive Spanish wooden chest dating from the late 19th century, featuring richly carved geometric and architectural decoration across the front. The elaborate carved panels displ...

17th century French gothic andirons - fire dogs made of wrought iron. They have spit hooks to grill meat or poultry.

This nice gothic style chandelier is made of wrought iron with 4 lights. This is a French work. Circa 1940

A robust, solid oak extending dining table hand-crafted in 17th century France circa 1680. Gnarled knots, beautiful grain, and an incredible range of textures give the thick tabletop...

79208 Late 19th Century Antique French Aubusson Tapestry, 06'00 x 08'10. A sanctuary of woven splendor and poetic artistry, this handwoven wool and silk French Aubusson tapestry from...

Gothic Style Bronze and Iron Bat Motif Lantern Gothic style bronze and iron bat motif lantern, with a total of 45" drop, chain can be removed or added. For sale are two exceptional Gothic-style bronze and iron bat motif lanterns, sold individually, offering a rare and unique addition to any space. Each lantern has a finely cast bronze bat...

Very large and exceedingly rare English Renaissance Revival fireplace mantel, circa 1860s. Made of hand carved walnut featuring a gothic cathedral design. The fireplace portion is ...

A monumental and exceptionally rare Gothic castle door of the 14th- 15th century, preserving its original hand-forged wrought iron strap hinges, monumental lock, decorative iron fitt...

An exceptional and remarkably rare Late Gothic solid wrought iron castle door, entirely hand-forged in France during the second half of the 15th cent...

Gothic front gallery chest, Westphalia around 1500 - 1550, wrought iron bands, boxy oak body, partially carved. Monumental star-shaped key plate with original key, feet on the front ...

An extraordinary and exceptionally rare medieval castle door, traditionally attributed to the 14th century, preserved within a medieval castle of 13th–14th century origin. Retaining ...

This pair of cast plaster Gothic finials exudes the elegance and intricacy of Gothic architectural design. Each finial is adorned with floral form crockets, meticulously crafted to r...

Considering what furniture design might look like in other realities, the Witch's Chair was conceived as a relic plucked from a portal or a monstrosity mutated from a potion. Existin...

A decorative wrought iron chandelier with five arms, built around an expressive, hand-forged structure. The form is composed of scrolling arms and layered leaf elements, all finished...

Italian Situla, holly water bucket. The handle holds by 2 lion haeds. The situla depicting 5 columns connected with an arcade of 5 arches. Above the arches we see a band of scrolli...

France / 16th century / bridal or blanket chest / oak / Gothic This impressive chest was hand-carved in solid oak in the 16th century in France. The construction is typical of very...

A richly detailed pair of English Gothic Revival walnut side chairs, dating to around 1870, distinguished by their intricately carved tracery backs, architectural arcade motifs, and ...

Gothic wrought iron candelabra style floor lamp.

A stunning salt cellar, made by famous Norwegian artist Magnus Aase in 925 Sterling silver (hallmarked). The makers mark being Magnus Aase, Norway, from the 1940s. The salt cellar ...

A remarkable and exceptionally sculptural Late Gothic carved oak bench coffer (Stollentruhe) dating from the late 15th to the early 16th century, most likely originating from Austria...

A scarce antique ecclesiastical architectural hand carved and painted wooden church - cathederal tabernacle door. 18th century or earlier, early Medieval European Romanesque Gothic style, facade with elaborate arched header atop partial quartfoil, hinged tabernacle door panel which would have opened to important religious niche...

POLYCHROME CARVED WOOD VIRGIN AND CHILD FROM THE 15TH CENTURY   ORIGIN: SOUTH GERMANY, SWABIA, NUREMBERG REGION PERIOD: 15th CENTURY   Height: 94,6cm Width : 28 cm Depth : 18 cm   Lime wood Original Polychromy Good state of conservation     From 1430 onwards, sculpture underwent a profound stylistic renewal which continued until 1530, the so-called late Gothic period. In the Germanic countries, original sculptures flourished in an expressive and sensitive vein.
This renewal was inspired by the art of Nicholas of Leiden, who was active in Strasbourg in the 1460's. His style broke with the refined and delicate art of the international Gothic style in force throughout Europe around 1400. The figures became more authentic and realistic. The bodies became denser. Clothes are animated by deep, broken folds, the fabrics are heavy and have a great decorative value. In addition, the polychromy is intended to be illusionistic. The painting makes it possible to restore the texture of the materials, the richness of the textiles and the natural skin tone of the characters.   The dissemination of images through engraving and the great mobility of the artists led to the success of this style, which conquered the Upper Rhine, Swabian, Tyrolean and Franconian regions, contributing to the formation of a common stylistic identity in these regions. The economic boom in the flourishing German cities was conducive to the development of original production. Attracted by this prosperity, numerous workshops were set up in order to meet the orders of religious communities, the Church and the laity, including a clientele of middle-class rockers.      This precious Virgin and Child is depicted standing on a crescent moon, her head encircled by a crown of tall flowers. Her long wavy hair spreads over her shoulders, framing her beautiful oval face. Under fine eyebrows drawn with a brushstroke, her almond-shaped, slightly drooping eyes look at the Child with infinite softness. She is dressed in a long red dress with a rounded neckline, belted under the chest. The heavy fabric of her dress spreads out in broken folds at her feet. On her shoulders she wears a golden cloak. The drapery has deep folds. She holds out her right hand while she holds the Christ Child with her left.   Christ, with his well-defined hair, is naked. His cheeks are highlighted with red, he holds an apple in his left hand and with the other hand makes a sign of blessing towards the faithful.   Virgins with Child on a crescent moon were very popular in the second half of the 15th century, especially as the central subject of altarpieces in southern Germany and Austria. The crescent moon on which Mary is standing is reminiscent of the Woman of the Apocalypse. Often equated with the Virgin Mary.    This episode is taken from the Book of Revelation (12:1-6)   1 Then a great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. ; 2 She was pregnant, and she cried out because she was in labor, in pain from giving birth. ; 3 Then another sign appeared in heaven: it was a great fiery red dragon, with seven heads and ten horns, and seven royal crowns on his heads. ; 4 His tail swept down a third of heaven's stars and threw them to the earth. The dragon stood in front of the woman who was about to give birth so that when she gave birth, he might devour her child. ; 5 She gave birth to a son, a male child who is to rule all the nations with an iron rod. Her child was snatched up to God and his throne. ; 6 Then the woman fled into the desert, where God has prepared a place for her. There she will be taken care of for one thousand two hundred sixty days.   Some theologians see in this woman a reference to the Virgin Mary and in the child, Jesus.    
This remarkable work is a very fine example of sculpture from Swabian workshops in the last decades of the 15th century. It presents all the characteristic stylistic elements: a highly girdled silhouette, an abundant drapery with angular folds, but also a great physical presence accentuated by the polychromy that restores the anatomical details. This group is made of a wooden log. The deep folds of the drapery highlight the movement of the Virgin holding the child.       Bibliography :   Sophie Guillot de Suduiraut, Dévotion et Séduction, Sculptures souabes des musées de France, vers 1460-1530, Paris musée du Louvre-Éditions somogy, 2015   “Revelation 12 -   Common English Bible...

An 18th century English console table hand carved from solid oak, with a rich, time-softened patina and wonderful depth of surface. The narrow form gives the piece an elegant presenc...

Antique Gothic Bronze Wall Hanging Altar Door Tabernacle with Chalice (B). Item features heavy solid brass/bronze construction, chalice and rays of light cast design, very nice vinta...

A fine antique 17th century French Gothic carved oak lidded chest or coffer, dated 1679. The chest was assembled in the mid 19th century with original carved panels from the 1600s. ...

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...

17th-18th century French andirons made of wrought iron. The style of the andirons is Gothic. The andirons have spit hooks to grill food. They are in a good condition.

Oak blanket chest made in France in the 1940s, carved on the front and the sides in the Gothic vocabulary that French workshops kept returning to well into the twentieth century. Th...

An expressive Finnish floor lamp by Taidetakomo Hakkarainen from the 1930s. The tall wrought iron structure is richly worked with twisted sections, scrolling lines, leaf details and ...

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...

A refined and visually compelling collection of two large-format illuminated from both sides manuscript leaves on vellum, originating from Italian choir books of the late 14th to early 15th century. These leaves, once part of monumental liturgical codices used for communal singing, exemplify the artistry and devotional culture of the medieval church. Each leaf is executed in bold Gothic script with square Gregorian notation on red staves, designed for legibility at a distance. The collection includes examples from a Psalter and Antiphonal, encompassing both textual and musical elements of the liturgy. The group is distinguished by its range of illumination, from finely ornamented initials in red and blue with delicate penwork flourishing, to a more elaborate historiated composition depicting the Adoration of the Magi, rendered in vivid pigments with gold accents and intricate vine borders. This figurative leaf reflects a higher level of artistic sophistication and devotional narrative, typical of important ecclesiastical commissions. Texts include passages from the Psalms (notably Psalm 26, “Dominus illuminatio mea”) and chants associated with major liturgical moments such as Epiphany and the Office of the Dead. The musical leaves preserve the rhythmic structure of Gregorian chant, with neumatic notation carefully aligned to the text. Executed on fine animal (sheep) skin (vellum), the leaves display the natural undulation and patina characteristic of medieval parchment...

Imagine serving tomato soup or cherry tea in these fuckers... Le Cercueil in Brussels is Europes oldest horror bar and was established in 1974 or 76 in the Belgian capital. This set ...

Dramatic Gothic style aged mirror having central cherub at the top, ornate frame and two mask like faces on each side. Mirror has natural spiderwebs and mercury with fabulous moody ...

An antique Italian wall mounted fountain basin in a late Gothic style with central sun in low relief or "bas relief" on a detailed pedestal in Rosso Verona marble with patina. Minor ...

Unique 19th Century plaster remake from a A tankard with a bulbous body decorated with nine figures; the handle is shaped like a panther's head. The base mount is made of chased, gil...

Tyrol, Austria, 16th–18th Century A remarkable and truly one-of-a-kind Gothic carved chest from the Tyrol region of Austria, reflecting centuries of craftsmanship, use, and careful ...

Miniature depicting a Vanitas Memento Mori, painted in tempera on paper. The frame, made of ebonized fruitwood and finished with black wax, is oval in shape, with an internal oval bo...

Transport yourself back to the sleek and sophisticated 1970s with this exquisite arch gothic armoire cabinet with interior mirror. The ultra rare cabinet exudes an air of luxury and ...

Striking wall mirror with handcarved geometrical 'flowers' and trefoil symbols. Via one of our foreign contacts we recently purchased this perfectly fine and deeply handcarved, sc...

In true Gothic fashion, these lamps illustrate the style of light common to many cathedrals of the time yet devoid of any religious symbols. Lights are of grand scale consisting of s...

19th Century Gothic Oak Confiturier ~ Cabinet is a commanding example of Gothic Revival craftsmanship, carved in solid oak and presenting a strong architectural presence in a compact...

Monumental Medieval Antiphonal Book Binding with Illuminated Leaves Austria, 1300s- possible St.Peter Abbey, Salzburg Austria, oldest monastery in the German speaking world (founded ...

Julius Herz (1819-1911) founded a jewelry store in the lower Webergasse in 1843 and held the title of jeweler and goldsmith from 1854. His assortment ranged from household items such as sugar bowls and sauce boats to precious tiaras and fine jewelry. In 1886/87, he handed over the management of the company to his sons Adolf and Salomon Herz, who were appointed court jewelers shortly afterwards. Under the management of Bruno Netter, son-in-law of Adolf Herz, who had run the business since the late 1920s, the company merged with Joseph Herz Heimerdinger, another traditional Jewish company, and relocated to Wilhelmstraße 38, where Heimerdinger's business premises had been located since 1913. In 1938, the company still advertised under the name "Netter, Herz und Heimerdinger GmbH, Juweliere" before the business was looted and completely destroyed during the Reichspogromnacht on November 9/10, 1938. Outstanding rare Gothic German...

An exceptional and rare Gothic-Renaissance memento mori, sculpted in marble and surmounted by an original iron cross, originating from Austria, 16th century. Carved from solid marble...

German cast iron fireback of the 16th/17th century. Adam and Eve at the tree, cast in Germany in the gothic manner of the early foundries. A heavy plate, over four centimetres thick....

This extraordinary and remarkably well-preserved ensemble represents a complete set of late medieval German infantry armour, dating from the 15th to early 16th century. Forged entirely from high-quality steel plates and joined with traditional leather straps for proper articulation and fit, the armour embodies the superb craftsmanship and engineering of the German armourers of the period. The helmet is a finely made European bascinet, the classic combat helmet of the era. It features a gracefully pointed visor and hinged cheek plates, designed to provide both excellent facial protection and freedom of movement, while allowing sufficient ventilation and audibility during combat. The bascinet retains its original character and displays the subtle fluted detailing that became a hallmark of German armour-making in the transitional phase from the Gothic to the early Renaissance styles. The suit is mounted on an antique wooden mannequin stand measuring 175 cm in height and includes its original linen undergarment and chainmail shirt...