Gothic Revival Furniture

Stunning clock for the collectors of rare and truly stylish Gothic antiques. Gothic wall clocks are a rare find and this more than three feet tall specimen probably is the best an...

A beautifully expressive example of 19th‑century French devotional art, this Neo‑Gothic crucifix combines plaster, wood, and metal to create a richly d...

Wonderful Gothic Revival fire-place mantle surround with an amazing presence and patina. If you like Gothic Revival furniture then we are certain you will like this quality made and quality carved, antique Gothic mantle...

A reliquary bronze crucifix on large engraved cross pendant with two hanging small crosses at both lateral sides of the large cross, Italy, early 17th century. Both small crosses wit...

Unique table crucifix and a wonderful work of religious art, dated 1912 and numbered. For us the most powerful statement will always be 'the truth will set you free'. It is what we have learned most from the life of Christ and of His teachings and it is the one thing we always think about whenever we look at a crucifix. Anyone who has tried to break down his/her ego and found a clearer consciousness in the process knows how healing and rewarding that journey can be. After that you can only be grateful for all the good things that are bound to come your way. Good things will come your way, because the universe needs people like you. Whomever created this amazing work of religious art too must have been inspired and motivated by the life of Christ, because how ever could anyone create a piece that is of such quality, so beautiful and so powerful at the same time. Both the beautifully designed bronze cross with the King of the Jews inscription and the amazingly detailed bronze corpus of Christ are of a quality that you will only rarely find on the open market. They are perfectly mounted on a stunning marble base and together they create one of the most impressive table or altar crucifixes...

An exceptional five-piece fireplace tools set with stand, handcrafted in Spain from wrought iron during the late Art Nouveau period (circa 1920s–1930s). This sculptural ensemble feat...

Wonderful Gothic architectural print. Window from Ca Foscari, Venice Steel engraving by R.P. Cuff after the original drawing by John Ruskin Published, circa 1880 On wove quality ...

This unique footstool showcases the kind of exuberant carving associated with Gothic and Renaissance Revival design. The standout feature is the set of grotesque mask carvings at eac...

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...

This exceptional six-light wrought iron chandelier is an authentic architectural lighting piece originating from a private villa in Celle, near Hanover, Germany. The villa was desig...

Unique and impressive, Gothic style chair from the late 1800s. This rare and solid oak Gothic Revival church chair has a beautiful patination and it is as stabile as the day it was...

Unique, top quality hand carved and highly decorative antique set of 3, 19th Century curule armchairs in red velvet – Renaissance Revival Elegance. This elegant set of three matchin...

Striking and highly sculptural Italian mirror dating to the early 20th century, exquisitely hand-carved in wood and depicting a fantastical dragon in high relief. The composition is ...

An elegant pair of Neo-Gothic style chairs crafted from solid oak in the late 19th or early 20th century. They are distinguished by their tall, architectural backrests featuring poin...

In grand, gothic style, this Spanish library / writing table has a deeply carved edge and this is just the tip of the proverbial iceberg, as the carving never really stops. It goes o...

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...

Exceptional 12 foot long Tuscan style banquet trestle table. Classic design and beautifully crafted of solid hardwood planks (not veneer). Dated and signed custom piece made by an ...

A striking and highly decorative pair of 19th century Gothic Revival cast iron garden chairs, showcasing exceptional craftsmanship and intricate architectural detailing. These rare ...

St016 Victorian Gothic Revival hall bench in solid oak, having panelled back, sloping sides and lift up seat enclosing storage compartment above panelled base. This antique hall benc...

Stunning and practical bookcase or drinks cabinet. This beautifully designed and all hand carved, tiger oak cabinet from circa 1910 is in amazing condition. It comes with top qualit...

Rare pair of opulent English Gothic revival style garden armchairs made in the manner of Coalbrookdale Foundry. The frames are heavy and solid featuring gothic tracery and quatrefoil...

20th C. antique-style brass chandelier with a rich, aged gold finish. The patina adds depth and character, giving it an authentic, vintage look. The chandelier has a circular frame w...

Early 20th century, solid oak Gothic cabinet with hand carved church window panels. This beautifully and deeply carved oak cabinet from the early 1900s is in excellent condition. It...

Decorated with tracery arches and medieval characters and raised on scrolling legs ending in a tripartite concave base. With glass globes. Electrified.

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

An exceptional Spanish Revival entry hall table, dating to circa 1910, beautifully handcrafted with a richly detailed wrought iron base, decorative brass accents, and an elegant blac...

Rare and highly decorative pair of antique Gothic Revival angel candlesticks. This meaningful and beautifully aged pair of circa 1900 candlesticks is entirely made of spelter and co...

Set of four J. & J. W. Meeks side chairs showing Gothic arch splats with the back of the chair featuring vertical bars that culminate in pointed Gothic arches and a gentle curve....

An original Victorian era Gothic Revival sandstone fire mantel circa 1880, with ornate column-style jambs, decorative foliate spandrels and a dramatic arched fireplace opening with carved bust to the top. Sourced from a property in the North of England, this antique York stone fireplace...

Gothic Style Five candle candelabra wrought iron with ceramic base from Germany. This elegant candelabra features a beautifully designed ceramic base that adds a touch of sophisticat...

Tall wrought iron floor candelabra with dramatic Gothic Revival styling, featuring a slender central shaft rising from a wide tripod base of scrolled ironwork with applied leaf detai...

Hand Forged Italian Fireplace Andirons / Fire Dogs Italy, 1940s. This pair of andirons were entirely made by hand with scroll ending feet, scrolled top and foliage decorative details...

Wonderful Gothic architectural print. Balcony in the Campo St. Benedetto, Venice Steel engraving by R.P. Cuff after the original drawing by John Ruskin Published, circa 1880 On w...

A superb small 19th-century mirror, made of solid wood, carved and gilded with gold leaf. Beautiful neo-Gothic decoration featuring pinnacles, crockets, and small columns. A ra...

Housing three lights, will be newly Re-wired with certified US UL sockets for the USA and appropriate sockets for all other countries and ready to hang! Incredible detailing. Adornin...

Elegant Gothic Revival ebonized pedestal from the 19th century. Carved Lion heads are set on 4 sides with carved paw feet at base. Ebonized carved wood. 1870s USA. Measures: top 14...

Stunning religious wall panel in thick relief with strong hook for easy mounting. For the collectors of stunning antique church relics we are also offering this marvelously hand carved pelican sculpture for wall mounting. The character ascribed to the pelican in this context is nearly as fabulous as that of the phœnix. From a clumsy, gluttonous, piscivorous water-bird, it was by the growth of legends transformed into a mystic emblem of Christ, whom Dante terms "Nostro Pelicano". St. Hieronymus gives the story of the pelican restoring its young ones destroyed by serpents as an illustration of the destruction of man by the old Serpent, and his salvation by the blood of Christ. The pelican in Christian art is an emblem of Jesus Christ, by "whose blood we are healed" and it is also a symbol of charity. Many early painters and carvers mistakenly represented it more similar to an eagle (much like in this antique church relic), and not as a natural pelican which is why most people today still are a bit confused at first when this stunning hand carved, symbolic bird is called a pelican. This striking and all hand carved, symbolic panel was originally part of a church or monastery communion rail...

A magnificent pair of 19th-century hand-carved lounge chairs by the celebrated Italian sculptor Victor Aimone, whose mastery of Gothic Revival carving ea...

Unique and impressive, Gothic style chairs with an amazing patina. These rare and solid oak church or monastery chairs have a beautiful patination ...

Pair of Gothic style throne chairs with carved backs. Set on casters, with dramatic detailing throughout. Please confirm location NY or NJ

Antique Gothic Revival hand made solid oak side chair - exceptional bench made quality frame with warm aged patina - featuring hand carved gothic arches to the upper back (carved on ...

This handsome antique hall bench combines strong Gothic Revival architecture with practical concealed storage. Crafted in France circa 1920, the substantial bench is constructed of o...

An exceptional Italian gothic renaissance revival style coffee table with a thick (0.75 inch ) glass top. The intricate design of this unique table is one of the best depiction of th...

Fine Carved Oak box seat settle, circa 1900, Back with 3 carved panels each showing 3 gentlemen in tavern scenes, gentleman bust on each end on top, Box seat with hinged lid, Pair C...

Great quality, early 1900s hand-horged wrought iron dragon chandelier Medieval / Gothic style / candle holder / electrification Optional. This stunning early 20th-century wrought i...

Crafted in France circa 1870, this striking antique oak chair reflects the Gothic Revival style through its architectural silhouette and ecclesiastical purpose. The tall pierced back...

French oak sideboard buffet in the neogothic style. Adolphe de Beyne was a cabinetmaker from the North of France. After the Word War I he ...

Large antique American Gothic Revival throne chair, circa 1870s. Made from walnut with a pierced cathedral back featuring arches and a cen...

Spanish Gothic Style Walnut wardrobe with Five hangers and carvings The doors features heads and symbols from gentlemen of this period. The original iron hardware makes so special t...

A mid 19 century French Gilt Bronze Gothic style mantel clock and garniture which the French call " A la Cathedrale". The three pieces are of finely chased and gilded bronze; the cl...

Spectacular & pure Gothic design clock for the collectors of truly unique and stylish antiques. A particularly striking example of the Gothic Revival, this French skeleton clock by ...

Speaking of antique masterpieces. This perfectly hand carved and large chandelier comes with a variety of marvelous details and six mask sculptures looking down from above. This bea...

Each jamb of the fireplace has a brown bear standing on a plinth holding a heraldic shield. Above the bears are carved capitals supporting a substantial breakfront cornice shelf. The...

Dr C Dresser, designed for Benham and Froud. A rare Gothic Revival oak coal box with wonderful stylised floral iron work, circa 1880.

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

Late 19th century Gothic Revival oak two drawer desk. English. Circa 1880. The desk is made in solid oak, having pierced quatrefoil decoration to the trestle ends with a lancet arch...

Rooted in the enduring tradition of Dutch craftsmanship, this Neo Gothic oak cabinet reflects the revival of medieval architectural design that remained popular well into the mid 20t...

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

Handcrafted and truly impressive Neo-Gothic Church fixture that can also be used for candles. Over the decades we have sold a number of very good antique bronze, Gothic light fixtures for both candles and electrical bulbs. However, we never offered one as high and with as many Gothic details as this hand-crafted chandelier. You will rarely come across a Gothic work of religious art that is more elaborate and with as many Gothic details as this fit-for-a-castle pendant...

Antique French Gothic Devotional Cabinet Religious Painting Carved Oak Kneeler. Direct from France, a stunning antique carved oak Gothic devotional cabinet with superb features, including a striking religious painting of Christ on the Cross, likely created as a special commission. The upper shrine is crowned with open carved oak Gothic tracery...