Gothic Revival Furniture

French oak hand carved Gothic revival panel. There are three available. Each panel is 1" deep by 8.5" wide by 13" high.

Charles Bevan In the style of. A Gothic Revival oak bedside cupboard with chevron inlaid details throughout and 45 degree planking to the sides.

A 19th Century burr walnut and walnut Gothic Revival writing side table in the A W Pugin manner. English. Circa 1860. The table having a burr walnut top with canted corners, support...

Marvelous vintage John C. Virden Medieval Gothic or Spanish Revival Style Hanging Light Fixture comprised of a 5-arm pentagon shaped black iron and wood fixture, a black iron chain, hammered iron details, candle posts, and a round brass canopy. Beautiful condition, keeping in mind that this is vintage and not new so will have signs of use and wear even if it has been refinished or restored. Please see photos, zoom in for details, and see long description as they are part of the condition report. We attempt to portray any imperfections. Circa, Mid-20th Century. Just hanging here EXPLODING with mid-century EXCELLENCE!!!! This is a fabulous vintage John C. Virden hanging light fixture comprised of a beautiful 5 arm black wood star or pentagon shaped fixture with lovely, scrolled iron details under the arms. Each arm bares hammered iron straps across the top and down the side and host a black iron bobeche on the outer edge holding white candle covers and a scrolled detail that hangs below the arm. A pentagon shaped ferrule floats in the center above the candles with five attached black chains draping from each side of the pentagon down to a hook attachment aside the bobeche. The entire fixture hangs from a gorgeous black chain ascending from a round brass canopy. It is CRAZY gorgeous!!! And it’s hardwired so you could use dimming or flickering lightbulbs and add some wonderful ambiance to whatever room you choose to install. This chandelier light fixture is going to be fabulous over your Spanish Revival style dining table but it would also blend in beautifully with Gothic, Medieval, or Renaissance style décor. Or use it to make a bold statement in an entry way, over an island in your kitchen, or over the coffee table in your living room. We can’t say enough about this phenomenal light fixture. This light fixture is EXACTLY what the designer ordered!!! John C. Virden Lighting Company was a Canadian based lighting company, and they also had a large factory in Cleveland Ohio. Mr. Virden had a vision to design & create supreme products...

Awesome vintage Medieval Gothic or Spanish Revival iron & wood beam hanging light fixture with black iron chain, hammered iron details, candle posts, and a round brass canopy marked ...

Set of 12 Modern Gothic sterling silver demitasse holders. Made by Tiffany & Co. in New York, 1927. Each holder: Drum-form holder with stepped rims. Each saucer: Deep plain well and ...

Rare and good condition, Gothic-art shrine for standing or wall-hanging. This handsome and decorative, Gothic wall shrine is completely hand-crafted out of solid oak and it will look awesome, no matter where you decide to mount or place her. It must have taken its creator quite a few days to first draw this intricate design on paper and then hand carve the entire piece out of solid oak. The Gothic Style elements are deeply handcarved in both doors and they make this shrine highly decorative and an absolute joy to own and look at. This cabinet chapel (or chapel cabinet) comes with its brass lock in perfect working order and also with its original gothic style key. The handgrip is in fact a Gothic trefoil symbol (for the trinity). What also makes this piece extra attractive is the Gothic church window-like frame behind the doors. It is among the finest we have seen to date and on top of that this antique also has a beautiful and rich patina. By the way, the bronze Mary statuette is not included in our price. Finally, thanks to the hook in the back, mounting this antique chapel...

French wrought iron Viking dragon ship chandelier has eight candelabra arms with gilt Viking Shields on each arm. This wonderful ship chandelier is suspe...

An impressively large and well detailed French late 19th century architectural model of a Gothic inspired transept-spire or church pinnacle. This Neo Gothic decorative finial is han...

A fine set of five antique Gothic Revival oak & leather, Irish Masonic throne chairs, circa 1900. Each chair having a pointed architectural pediment with scrolled devices and a scrol...

Good size and great looking Gothic Revival bracket for displaying a statuette. This Gothic console for wall mounting dates from the early 1900s and it has the most timeless design a...

All handcrafted and matching pair of colorful & meaningful church wall brackets / shelfs. If you are a private collector of ecclesiastical art or if you are looking for the perfect ...

Beautiful antique plaque with an image of Jesus Christ with a child. The plaque is beautifully decorated, with fine details and nice engraving. The plaque is signed 'Vernon' and dated 1905. Frédéric-Charles Victor de Vernon (17 November 1858, in Paris – 28 October 1912 in Paris), was a sculptor and engraver of French medals. He was educated at the École des beaux-arts where his teachers were Jules Cavelier, Jules-Clément Chaplain, and Émile Tasset. In 1881, he won second great Prix de Rome and in 1887 the first grand prix of Rome, after which he spent three years at the villa Médicis. In 1900, he designed the official medals for the 1900 Summer Olympics held in Paris. These medals are unique in being the only Olympic medals...

Beautiful and practical size, hand carved Gothic sidetable or small desk. This rare antique table in the Gothic Style can be placed tight on your wall...

This Spectacular, custom-made chandelier is not only a work of art, but an astonishing piece of early 20th-Century American craftsmanship. Every part of this 500+ piece fixture is a solid piece of steel, iron, glass or brass! Chandelier features: - 8-spoke forged Iron frame - (8) Outward-facing, nickel-plated portholes (with curved amber glass windows...

Marvelous, truly Medieval looking and practical Gothic Revival (drinks) cabinet and/or pedestal stand. This rare Dutch Gothic cabinet is in excellent condition, it comes with some of the most amazing, church window-like, carved panels (all around) and thanks to its unique design it can be used for all kinds of purposes. The entire look and feel of this antique cabinet combined with the quality of the carvings is so good that people will want to stop, touch and stare at it and it will never fail to impress. All four walls of this architecural Gothic cabinet are made of solid oak panels with deep and very intricate Gothic carvings. Standing on church pillars on the outside of every corner of this cabinet also are sculptures of stereotypical figures in Medieval times. Apart from some truly minor imperfections this top quality workmanship cabinet could hardly be in better condition, both inside and out. The shape and color of the cast iron, Gothic design lock plate and the wrought iron, Gothic design hinges also perfectly complement the ancient style of this antique eye-catcher. This truly is a glorious antique to come home to, either as a hallway cabinet, as a drinks cabinet, as a pedestal stand for a large Saint statue...

All handcrafted, Gothic style pentagonal wall lights with brackets. This early 20th century pair of marked brackets with pentagonal lanterns is all handcrafted, completely original and in very good condition. The natural wear has made this Medieval Style pair of light fixtures look even more ancient and authentic. Since finding Gothic fixtures of this quality and originality is getting ever harder, we were over the moon to find a pair that is this good. The trefoil style elements at the top of each of the Gothic church window-like sides and all of the original rivets are just some of the wonderful features that too make these works of lighting art so authentic and desirable. These lights even come with the original cathedral glass...

Unique Gothic Revival light fixture for wall mounting. This antique Gothic wall sconce with two flowery glass shades is another one of t...

A carved triptych of emperor Charlemagne. Beautiful triptych sculpture from Flemish origin made in the second quarter 19th Century, circa 1850. It was carefully carved with two ‘swi...

Antique, stunning and practical Gothic stool with a seat pillow with tassels. This striking and perfect size Gothic stool is as stable as the day it was handmade & hand-carved and t...

Unique and striking Gothic Revival wall cabinet with perfect working lock and key. This handcrafted and probably unique Gothic Revival wall cabinet from the late 1800s is another one of our magnificent recent finds. The size, the quality in the large amount of hand-carved Gothic details, the patina and the excellent condition make this another perfect purchase for collectors of this ancient and highly decorative style. The overal design, including the Gothic church window in the door, is right up there with the best we have seen to date. However, what makes this Gothic work of beauty really stand out for us, is the combination of the patina of the light tiger oak and the perfect condition, green cathedral glass panel in the door. That combination truly is a joy to look at. The door, by the way, still opens and shuts tight perfectly and it comes with a perfect working lock and key. Have you also noticed the original, gilt bronze lock plate? That is a work of art in its own right. The clean inside of this cabinet comes with two removable, solid oak shelves and the inside of the door is veneered with a wonderful bird's eye maple. On the back of this unique and antique Gothic cabinet...

A good antique American Gothic Revival oak lectern, book stand, circa 1890. This very handsome solid oak book stand/lectern has a generously wide sloped bookrest to the top and is ra...

A beautiful antique copper book stand, decorated with bronze ornaments. Gothic style, from circa 1900. The front has ben re-upholstered recently, with a nice blue fabric. The book...

Carved oak gothic revival cupboard circa 1980. Here we have an ipswich made piece of furniture from england, made in the form of a court cupboard from the 17th century. Carved doub...

Another rare antique for the collectors and enthusiasts of Gothic art. This sizeable and very stylish inkstand was all-handcrafted in the late 19th century and it could hardly be in...

This remarkable Gothic-style chest is intricately carved in stone-inspired tracery and solidly built. The Gothic Revival style was popular in Europe in the second half of the 19th ...

Very charming French Buffet / cabinet / credenza / dresser in molded and hand-carved oak in Gothic Revival (Neo Gothic) style. The upper part opens with a door decorated with Sculptu...

The Color Experience: Stained-glass windows “Color is a power which directly influences the soul” (Wassili Kandinsky, Moskou 1866 – Neuilly-sur-Seine, 1944) “Color! What a deep and mysterious language, the language of dreams!” (« La couleur ! Quelle langue profonde et mystérieuse, le langage des rêves », Paul Gauguin, Paris, 1848-Fatu-Hiva, 1903) ‘Color and feeling’, ‘color and meaning’, these are concepts that have gone together since time immemorial. Artists and craftsmen have a special bond with color. After all, it is a means of expression that can have a real reinforcing effect. Especially linking color with light offers unlimited possibilities. Glaziers and glass painters have tried to master both these ‘instruments’ for centuries. The set of beautifully restored neo-Gothic windows in our collection are enough reason for us to let these works of art figure in a broader story. As a bonus, we would like to introduce you to the contemporary stained-glass artist and stained-glass restorer, Daniël Theys. whose workshop is in Sint-Pieters-Rode (Belgium). He talked to us about the materials and techniques he used for the restoration of our set of neo-Gothic stained-glass windows. A fascinating look at the tricks of the trade from a specialist! A bird’s eye view of the history of the European stained-glass window. Although the Romans already used translucent glass plates to cover wall openings, the stained-glass window reached its peak in Europe between 1150 and 1500. A period also known as the era of the cathedrals. At that time, stained-glass windows became more than just a way to let in the light, and to keep the space closed off. From now on, their functionality was also found in their didactic value. The biblical and saints’ stories that adorned the stained-glass windows became a kind of poor man’s bible. They brought, as it were, the knowledge of the holy scriptures in an understandable, pictorial way. At the same time, the colored light provided additional symbolism. The invading light was interpreted as a manifestation of God. It is also no coincidence that the main altar was bathed in light. It was the place where the most important sacrament was celebrated, that of the Eucharist. How were these magical colors obtained? Well, during the 12th and 13th centuries, metal oxides gave color to the glass. Copper, for example, produced different colors in the various stages of oxidation. The metal could color the glass light blue, green and even red. It should be noted that from the 13th century onwards, clear glass, which was cheaper and at the same time allowed more light into the buildings, was used more often. A century later, in the years 1400 to 1500, glass painters frequently painted onto the glass with a ‘stain’ of silver chloride or sulfide. The painted piece of glass was heat-treated in a furnace. The heating process ensured that the silver ions migrated into the glass and became suspended within the glass network. The stain gave colors ranging from a pale yellow to a rather deep red. This new technique allowed glaziers to get more than one color on a single glass fragment. The shades produced by painting in silver chloride were well suited for depicting golden crowns, scepters and other gilded objects and ornaments. But the most important advantage of the technique was the fact that the glass painter could now make transitions from yellow tones to white without having to apply separations with lead strips! This also improved the legibility of the pictured scene. You can imagine that the labor-intensive process of the production of stained-glass windows was a very costly affair and therefore it was often patrons who donated them to a church or a chapel. The benefactors were usually eager to propagate their social status and were moved by concern for their salvation. In the 16th century, stained-glass windows also began to appear in secular buildings such as town halls, the homes of the wealthy and commercial premises such as inns. It is striking that during this period the use of lead strips that border many parts of the image was further reduced in favor of real painting on stained glass. This was due to an increasing love of detail. For example, one wanted realistically painted portrait heads. Working with enamel paints was cumbersome. Each newly applied color had to be burned into the glass before another color or overpainting could be applied. It was not only the coloring of the glass that was complicated, the process of obtaining flat glass plates required many steps as well. The glazier blew a glass bulb with a blowpipe and then cut it open. Finally, each half of the sphere was turned around so fast that it became a disc. In later periods, the glazier blew out his glass bulb into a cylinder. Once the cylinder had cooled, its closed ends were removed, and the long sides were cut open. The pieces of glass obtained were then heated and flattened. During the 16th century, there was a division of labor between the stained-glass designer, the glazier, and the glass painter. It happened as well that the stained-glass artist used prints as models for his stained-glass windows. Whoever drew the design, the glazier always needed a model on the right scale, the so-called cartoon. On the cartoon, the lead strips were clearly marked, and the use of colors was indicated. Contracts at the time show that the price of stained-glass windows was calculated per square foot. The price per square foot included the labor and material costs. The price of the cartoon was not included. In the 17th century, the work of glass painters remained important. At the same time, there was a growing popularity of stained-glass windows with heraldic themes. In the Low Countries there were several high-quality glass painters active. During the 18th century, glass painting went downhill in our regions. The French occupation of the Southern Netherlands resulted in the destruction and sale of religious stained-glass windows. It was only around the middle of the 19th century that the young Belgian state experienced a revival of stained glass. The renewed interest in the Middle Ages, the so-called ‘gothic revival’, caused a wave of restoration of old stained-glass windows of churches and orders for neo-gothic stained-glass windows. The Sint-Lucas art schools in Belgium played an important role in this. Industrial developments in the glass and steel industries naturally had an important hand in the popularity of stained-glass windows. Stained-glass had a wide range of uses; think of stained glasses in winter gardens, domes, windows, and doors of large mansions. Significant glazier’ studios arose in several larger Belgian cities. In Brussels, for example, you had the workshops of Capronnier and Colpaert, in Bruges the studios of Coucke and Dobbelaere, in Ghent the companies of Ganton-Defoin or Ladon. During the 19th century, glaziers followed the style developments in the visual arts. For example, the number of windows in Art Nouveau and Art Deco style is large. The restored stained-glass windows with male and female saints that we offer for sale, come from a building in Laeken, near Brussels. They probably decorated the space of a church, chapel, convent, or Catholic school. In the results of the interview with glass restorer Daniël Theys, you will learn more about the particularities of these splendid windows. Chatting and browsing in the workshop of Daniël Theys The Belgian Glass restorer and glass blower, Daniël Theys (), made a career switch at a later age and has been active in the profession since 1987. He is an important player in the field of stained-glass window art in Belgium. Moreover, he is the only one in the country who still masters the technique of glass etching. Daniël Theys receives many commissions from small parish churches to restore old stained-glass windows to their former glory. He made a name for himself in that niche and that is how Spectandum brought the set of 19th century stained glass windows to his workshop for reconstruction. They were delivered in old numbered wooden crates and Daniel had to start puzzling. Numbered wooden crates with sections of the stained-glass windows Normally a glazier starts working from a drawing with a scale of 1:1 (full size drawing), but in this case each piece had to be cataloged and photographed. The smaller pieces were grouped on the light box and photographed in their entirety. Then Daniël made a drawing of the remaining pieces that he had puzzled together with great care. Smaller pieces identified and grouped on the light box The restauration guidelines of the Agency for Monuments and Landscapes are not always the same as those of a restorer. For this reconstruction, Daniël primarily considered the purpose of the stained-glass windows. It had to be an aesthetic and salable set of stained-glass windows, so the choice of filling the gaps with neutral glass or epoxy was not really an option. Theys left well-executed previous restorations untouched. The windows may have been repaired three or four times in the past. Piece of a cloak with glass shards from different periods (restorations) Another problem Daniel faced during the restoration was the fact that some small parts of the old grisaille had been eaten away by microorganisms. The defect – caused by moisture – can be seen from the discoloration of the grisaille. The black-brown color is turned red. This fragment shows well how the brown grisaille has turned red due to the attack of micro-organisms The stained-glass windows of the 19th century are made of ‘in the mass-colored’ glass. This means that the colors were added to the liquid glass during its production process. This type of glass differs from glass colored with enamel paint, which became popular from the interwar period. The latter process involves applying enamel paint (this is a glass powder with a metal oxide to which a medium has been added) to the colorless glass. When firing the glass with the enamel paint, the powder fuses with the glass. The colors of email painted glass are less intense and less brilliant than those of ‘in the mass-colored glass’. Jars with colored powder for the enamel paints For the restoration Daniël only worked with mouth-blown glass, both with ‘in the mass-colored glass’ and with ‘verre plaqué’. This is blown glass composed of several layers of different shades. Over the years, Theys built up a large stock of old blown glass. Colored blown glass always has sliding shades. For example, a red piece of glass can have a color transition from bright red to light orange. These differences in shades are the result of the different thicknesses of the piece of glass. It allows the glazier to use a wide variety of shades. The purple-red foliage with light blue accents was obtained by etching away parts of a piece ‘verre plaqué’. A small part of the lower glass layer is exposed. The windows were completely re-leaded by the restorer because there was virtually no ‘lead net’ preserved. In general, lead strips only have a limited lifespan because of oxidation processes. Daniël removed the old lead remnants and placed new lead profiles. Then he applied putty between the glass fragments and the lead strips to seal the lead. A window must be made watertight. The current condition of the windows is excellent. Decorative glass part with original lead remnants New lead strip The set of stained-glass windows we present today, originally consisted of windows of 5 to 6 m high. After all, they originally adorned a neo-gothic church. Since the original dimensions are not suitable for private buildings, it was decided to only restore the figurative representation. The original spire of one of the windows Thanks to a suspension eye, the window can be hung. There is also the possibility to place the window in an upright position. Thanks to the craftsmanship of the Theys-Studio, we can once again enjoy the brilliance of color! Looking for the missing link The set of 19th-century stained-glass windows came into the possession of Spectandum without a clear provenance. The renowned Leuven antiques dealer, Cornelius Engelen, recalls that the windows came from a church in Laeken. There is no solid starting point for a search for the provenance. Based on the style of the stained-glass windows – most probably the late 19th century -, their religious iconography, and their original shape (pointed arch windows) and dimensions (5 to 6 cm high), we can assume that they were once displayed in a (neo-)gothic cult building. On the one hand, the stained-glass windows may have been removed after storm damage or other calamities, on the other they may have been taken away during a renovation or a demolition of a church. The Church of Our Lady in Laeken is the most famous church building in that municipality that could qualify. In the early 1920s, the central windows of the transept were badly damaged by a hurricane. Today, glass fragments of these windows (dating from 1893-1894) with the names of the sixteen missing saints and an arch infill of the western window are officially known. It would be interesting to find out if our set of eight saints once were part of the transept of Our Lady in Laeken. Research in the records of the church administrators could provide clarification. Knowing that most neo-gothic stained-glass windows from the Church of Our Lady come from the Jules Dobbelaere’s glass studio in Bruges, it is useful to consult that company’s archive as well. It is kept in the KADOC (Documentation and research center for religion, culture and; in Leuven. Of course, the sizes and shape of the stone window openings of the transept can also provide an indication. If we stylistically compare the grisailles of the set of stained-glass windows with the work of Jules Dobbelaere, we do see some relationship. Especially with a stained-glass window in the chapel of Our Lady of the Saint Anthony Church in Aalst. Another line of research that we could follow, is that of the iconography of the series. One of the saints depicted is Saint Roch. There once was a Saint-Roch church in Laeken with 19th-century stained-glass windows from the Brussels studio of Jean-Baptiste Capronnier. The company archive of the glaziers François and Jean-Baptiste Capronnier is owned by the Flemish government and can be consulted in the above-mentioned KADOC. We already searched the sales catalog of 1892, in which Capronnier’s drawings and cartoons are described one by one. The saints that are represented in our set of windows, does not correspond with the names of the saints mentioned for the church of St. Roch in Laeken. Building on this argument, it can be concluded that the eight saints were not destined for this house of worship. In the absence of lavishly illustrated monographs on the various glazier-companies in Belgium, the execution of a comparative study of the stained-glass windows is time-consuming and complex. Although a limited number of old photos of stained-glass windows can still be found in the database ‘Balat’ of the KIK-IRPA (), this remains far too limited to get a good picture of the output of the various companies. 19th C, Saint, Neo-Gothic Stained-Glass Window with Saint Martin, Belgium, 163 x 73 cm Most people know Saint Martin (Szombathely, ca. 316 – Candes, 397) as the Roman Tribune who cut his cloak in two with his sword and gave one half to a beggar. The artist of the stained-glass window has opted for a different, less common iconographic representation here. Saint Martin is presented as a bishop with a miter and staff. According to a legend, Martin was lured to the city of Tours with a trick to consecrate him as a bishop. He refused the ecclesiastical office and hid in a barn with some geese. The birds betrayed him with their twittering. In the end Martin received his episcopal consecration. The goose at the feet of the saint clearly refers to this event. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Angela, Belgium, 163 x 73 cm Angela de Merici was an Italian woman who taught young women religion, health care, and household skills. She founded the monastic community of the Ursulines. They played an important social role as founders of schools and orphanages. Saint Angela died in Brescia in 1540. It should therefore come as no surprise that the saint on the stained-glass-window is depicted with a girl by her side. 19th C, Saint, Neo-Gothic Stained-Glass Window with Charles Borromeo, Belgium, 163 x 73 cm Charles Borromeo (Milan, 1538-1584) grew up in a noble family. He was already made Cardinal and Archbishop of Milan at the age of 24. With his writings he contributed to the implementation of the Church reforms determined at the Council of Trent. Among other things, he released a new catechism. With his book on the design of church buildings, “Instructiones Fabriacae et Supellectilis Ecclesiasticae”, he left a mark on Baroque church construction. At the outbreak of the plague in his diocese in 1576, he devoted himself to the care of those affected. Hence, people sometimes pray to him when they have been hit by a serious illness. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Roch, Belgium, 163 x 73 cm Saint Roch (Montpellier, 1295? /1350? -1327? /1380?) was born with a port-wine stain in the shape of a cross on his left hip. It was interpreted as a sign from God. After the dead of his parents, he gave his money to the poor and went on to live the life of pilgrim. He cared for plague sufferers and healed some of them by making a sign of the cross. He is especially invoked as protector against the plague. 19th C, Neo-Gothic Stained-Glass Window with St. Bernard of Clairvaux, Belgium, 163 x 73 cm Bernard of Clairvaux (Fontaines, 1090-Clairvaux, 1153) decided to become a monk at the age of 21. In 1112 he entered in the monastery of Cîtaux. He was soon commissioned by the abbot to find a new monastery in Clairvaux. Because of his intellectual capacities and eloquence, he was consulted by various ecclesiastical and secular leaders. He ensured the expansion of the Cistercian order throughout Europe. As a Doctor of the Church, he wrote many tracts and sermons and established a new rule for the Templars. Above all, he was concerned with the discipline of the clergy. Therefore, he wrote a spiritual manual for the priests and bishops. Saint Bernard can be seen as a true mystic. He envisioned the union of the human soul with God as the most important goal in life. According to a legend, Bernard once had a vision in which the Blessed Virgin appeared to him and strengthened him with her mother’s milk. In the arts, the saint is mainly depicted with an abbot’s staff and a book with the Cistercian rule. His vision was also often portrayed. 19th C, Neo-Gothic Stained-Glass Window with St. John Berchmans, Belgium, 163 x 73 cm The Belgian Jan Berchmans (Diest, 1599-Rome, 1621) was the eldest of five children. When his mother became seriously ill, he initially took care of her, but at the age of nine he was housed with the town’s priest. After a few years he moved to Mechelen to become the servant of a canon. It also gave him the opportunity to begin his studies in the seminary for priests. He eventually joined the Jesuits of Mechelen. He got their permission to study philosophy in Rome. In the Eternal City, he visited working-class neighbourhoods to teach the children about God. He died of an illness at the age of 22. Saint Jan Berchmans is the patron saint of school children and students. 19th C, Neo-Gothic Stained-Glass Window with Saint Clare...

Antique Carved Oak Enveloped Quarter Top card Table with Single Drawer and gaming wells. Can be used as a stand alone side table. Ornate carvings on top, ornate legs with new baize g...

Elegant wall sconce with gentle tapering, clean lines and classic torcheire details. Hammered texturing and a rich waxed finish gives this wrought iron fixture a softer look. At ho...

A fine work of Gothic Art depicting iris flowers, associated with the Passion of Christ and the Resurrection. This Gothic quatrefoil design umbrella stand is another one of our rece...

CONTINENTAL HEAVILY WORN AND CARVED ONE-DOOR CUPBOARD OF SMALL DIMENSIONS Composed of 18th century and later elements, likely constructed in the late 19th/early 20th century of fant...

Antique Girandole Gothic Revival Gilt Bronze & Crystal Three Arm Figural Candelabra with Figure in Cove & Foliate Elements, Marble Base, C1850 Measures - 17"H x 16.5"W x 4"D

A very fine and elegant Regency Satinwood and parcel-gilt double action Harp from the workshop of the famous harp and piano maker Sebastian Erard (1752-1831), decorated in the Grecia...

Antique Rustic Gothic Console ~ Raised Cabinet recalls a style that dates back over a thousand years! A solid plank top is edged with an angled bevel with a tier of molding connecti...

19th Century French Gothic Revival Library Table was fashioned from thick planks and beams of solid maple to literally last for centuries! The heavy top which features generously mi...

Gothic Revival pair of mahogany chairs Original leather seats Brass Castors Egyptianesque design and ebony detailing Circa 1870 Holland & Sons

A carved rectangular giltwood Gothic design triple plate overmantel mirror, inspired by the style and decoration of the Long Gallery at Strawberry Hill...

Pair Of French Restoration Bronze Urns With Rouge Gritte Marble Bases With Gilt Bronze Mounts. Circa 1835 MEASUREMENTS: 9.25" H x 7.75" Diameter

Carved oak monks bench. carvings to the front, both sides of the top & lovely carved lion arm supports.The seat lifts to reveal a storage box and the top is beautifully carved on...

Beautiful neo-gothic chandelier in patinated bronze with gold highlights and water green opaline glass. The central shaft, decorated with cartridges in imitation of coats of arms, is...

Stunning and rare Gothic Revival side chair. Striking Dutch design from the 1930s. Solid oak frame with original hand-carved elements. This wonderful Gothic Revival side chair is in ...

19th Century French Gothic Revival Bookcase with Stained Glass is a stunning example of the genre, produced from solid oak on a scale large enough to impress, but not too large to fi...

Wonderful Gothic Revival chest with an amazing presence and patina. If you like Gothic Revival furniture then we are certain you will like this quality carved and intricate chest. This superb and practical size specimen comes with very attractive and deeply carved, Gothic church-window-like panels and folded scroll paper carvings on the sides. This entirely hand-crafted out of solid oak chest has a pair of the most intricate Gothic church windows panels you ever saw and the guards standing on pillars on both corners are like the gatekeepers...

A beautiful trio dating back to the 1940’s. wall plates included but not photographed. the body of all 3 are 21 tall and candle holders almost 24. 12 wide and 6 deep 2 sconces have ...

Substantial antique Swedish Gothic style church pew that measures nearly 10 ft long. The chunky pew seat sits on 3 support legs. The hand scrolled sides also features carved trefoil....

German frame, carved wood, 19th century, 1860-1880, specially made for Dürer engraving « Coat of arms with skull » realized by Dürer in 1503 Nice shiny patina. Sight size: 32 x 21...

Immerse yourself in the intricate beauty of German craftsmanship with this stunning Neo-Gothic painted and carved cupboard, dating back to around 1870. Rich in history and artistry, ...

Unique table crucifix and a wonderful work of religious art. For us the most powerful statement will always be 'the truth will set you free'. It is what we have learned most from th...

France / 1850 / cabinet / oak / neo-gothic / antique Oak neo-gothic cabinet/ highboard with 2 doors and 2 large drawers with beautiful original brass hardware, hand crafted in Franc...

Magnificent and ultra rare Gothic Revival pedestal desk. Striking Dutch design from the 1900s The craftsmanship of this impressive piece of furniture is outstanding! Executed in so...

Country House Hostess Greeting Station, Reception Bar A superb and traditional piece, the bar comes from a Country House Hotel, it is made in linenfold carved...

Iron and glass Gothic Revival pendant from France circa 1940. This pendant has been newly wired for hardwire installation and requires a standard E26 bulb. Visible wear on iron is co...

Royal House Antiques Royal House Antiques is delighted to offer for this really quite stunning Antique circa 1860-1880 Gothic Revival Pugin style bookcase which is wonderfully carve...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely exquisite very rare Holland &Son's Mount Street London stamped, dome fronted display cabinet...

Royal House Antiques Royal House Antiques is delighted to offer for this lovely pair of stunning circa 1860-1880 hand carved Continental Oak, Library bookcase cabinets in the Jacobe...

Antique Rustic Gothic Petite Raised Cabinet is the perfect choice for a cozy home, a small niche, under the stairwell or anywhere a diminutive yet timelessly stylish cabinet works. ...

Late 19th Century French writing desk armchair painted in black, in solid oak wood. This richly sculptured armchair from Gothic revival period, is decorated with rams head on the arm...