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...

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 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...

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...

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...

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 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...

An antique French gothic-style hand-forged wrought iron "corona" (or ring-style) candle chandelier. The heavy scrollwork integrated within a flat circular ring (wheel frame), suspen...

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.

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...

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...

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

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...

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 ...

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...

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...

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...

Antique spanish door fence pediment / crest in iron, hand forged, Spain, Early 20th century. This eye-catching wall fence was entirely made by hand in forged iron. A master work of t...

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...

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...

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. ...

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

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 ...

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...

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...

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 ...

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...

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 ...

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...

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...

Please message us with your zip code to request a more reasonable domestic U.S. shipping quote. Antique Gothic Revival Oscar Bach Style Figural Bronze & Onyx Gold Painted Small ...

Gothic wrought iron candelabra style floor lamp.

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...

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...

This nice and unusual pair of andirons representing dragons are made of wrought iron. This is a French work. Circa 1940

German cast iron fireback of the 16th/17th century. Adam and Eve cast in Germany in the late sixteenth or early seventeenth century, in the gothic idiom of the early German foundries...

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...

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...

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 ...

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....

VIRGIN AND CHILD IN MAJESTY, ALSO KNOWN AS "SEDES SAPIENTIAE"   ORIGIN : SPAIN, CATALOGNE PERIOD: EARLY 13th CENTURY   Height :  95 cm Width : 32 cm Depth : 28 cm   Softwood No polychromy     In the middle of the 12th century, the Virgin took her place in churches, seated in Majesty, serving as a throne for her son Jesus. She is then called Sedes Sapientiae, meaning the Throne of Wisdom. At that time, she is not represented for herself and only exists because she has been designated as Theotokos, the mother of God, at the Council of Ephesus in 431, where the divine nature of Christ was proclaimed from his birth.   The upright and perfectly hieratic bust of this Virgin and Child in Majesty is seated on a throne-bench. She is dressed in a tunic with a rounded neckline and covered with a fine mantle placed on her narrow shoulders. The supple and natural drapery follows the lines of the body.   Large curls frame her face with delicate and regular features, a long straight nose, almond-shaped eyes, and small lips.   She supports the Infant Jesus with her left hand. Like his mother, he is dressed in a long tunic, and his little feet are visible in the folds. He holds a small sphere in his left hand, while with his right hand, he gestures in blessing. The face of Christ bears a strong resemblance to his mother’s one, and he gives a slight smile.   The position of the Child is no longer as hieratic, nor frontal or central as in the early 12th century, but his face still turns towards the faithful.   The 13th century indeed emerges as a period of transition in the artistic domain. The statuary, while retaining certain characteristics still belonging to the habits of the previous century, also develops new formal solutions.   As a result, Mary maintains a hieratic and frontal position, while her son shifts to place himself well to the left on her knee. Similarly, while the Virgin seems perfectly still, Jesus, on the other hand, appears much more animated, especially in the positioning of his hands. His left hand holds the orb, and judging by the raised right arm directed towards the faithful, one can easily imagine that he was making a gesture of blessing.   The influence of the Sedes Sapientiae from previous centuries still seems particularly prevalent in this work.   These few characteristics allow dating this Spanish Virgin...

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 gorgeous antique Gothic or Renaissance Revival bar cabinet Belgium, Circa 1880s Oak, with ornate carvings including shields and knight figures, and original iron hardware. Measu...

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...

A Rare and Monumental Italian Carved Carrara Marble Model of a Cathedral, Rome, 19th century, circa 1840. Possibly a representation of Cathedral of Santa Maria del Fiore in Florence Italy. The Italian Renaissance is renowned for its magnificent works of art and architecture, which are admired to this day for their grandeur and intricate details. Among the most impressive examples of this era are the rare and monumental carved Carrara marble models of cathedrals...

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...

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 ...

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...

Evoking the carved chests once placed within medieval halls, ecclesiastical interiors, and great country houses, this 19th century oak trunk captures the enduring romance of the Goth...

Housing one light each. These will be newly rewired with certified US UL sockets for the USA and appropriate sockets for all other countries. Standing winged dragons with lots of det...

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...

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...

Miniature depicting a Vanitas Memento Mori painted in pencil on paper. The frame, made of ebonized fruitwood and finished with black wax, is round with a circleinside, bordered by a ...

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...

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

Unique pair of large 1960's Italian Gothic Dragons andirons, in vintage original condition with minor wear and patina due to age and use, amazing craft...

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...

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 ...