Gothic Revival Furniture

BEAUTIFUL Antique French Oak GOTHIC REVIVAL Bench or Settee with Lift-Top Seat for Storage~~HIGHLY CARVED ~~c. 1880s Spectacular design elements featuring tracery, linen ...

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...

Pair of arched alcove cabinets, constructed in mahogany, pine and oak. Would have previously been wall hung or mounted on pedestals. Unusual exagger...

Stunning wooden Holy Heart of Christ statue. An exceptional and deeply moving life-size hand-carved wooden sculpture of Jesus Christ, depicting the Sacred Heart. This monumental chu...

One of the most outstanding pieces of ironwork we have ever seen, truly a one off spectacular mid-19th century iron overdoor, sourced from a Scottish estate this bespoke overdoor exp...

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...

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...

This is an incredible set of 8 foot tall solid wood arched double doors. The doors were salvaged from an old church, and they make an amazing statement. They are perfect for anyone...

English Gothic Revival-style (19th Century) walnut full size bed with carved finial posts. (Includes: headboard, footboard, rails)

Antique 19th C Gothic Revival Carved Armchair. Mahogany tone frame with Neo Gothic design. Hand Carved and Superb Condition Antique Gothic Reviva...

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

19th Century Solid Mahogany Gothic Cathedral Chair. "En Memoriam M.M." carved on front below the quatrefoil design. Carved date on back panel Sept. 16th 1891. Brand new custom uphols...

Dome Top Leather Trunk with poychrome hand Painted Scene, early 20th century. A gorgeous traveling trunk from France with a hand painted horse carriage landcape at the lid. Wooden tr...

19th century Flemish carved oak dining table and benches circa 1890. Excellent quality green man trestle dining table and matching benches.  Simple plain oak top with moulded edges,...

A gorgeous antique French Gothic Revival or Renaissance Revival sideboard or bar cabinet France, Late 19th Century Oak, with ornate carvings including shields and knight figures, a...

Gorgeous Spanish Gothic revival scrollwork wrought iron table lamp This handwrought iron table lamp with has an stunning handmade work with scrolled details and twisted ornamentations thorough. It will be a nice addition wherever you place it and it provides a charming light. Newly wired with one light: E27 bulb and twisted cotton dark brown electrical cord. Rare find. Overall Measures: 60 cm height x 30 cm diameter ( 23,62 in Height x 11,81 in diameter ). Wrought Iron Spanish Table Lamp // Gothic Style Table Lamp...

With a rectangular top with two pull out extensions. The top in a parquet pattern. The apron of the table with carved gothic tracery supported on carved legs headed by ionic capitols...

Extraordinary 18th century English oak pub bench / settee / sofa. A rectangular form with high back and red velvet upholstery. Features Gothic revival pane...

The model in various woods and bone inlay and finials. An arched window with painted copper roundel. With hinged rear door access. English

The vintage chair is crafted from dark wood with a Gothic Revival style, evident in its intricate carvings, including circular cutouts, swirling patterns, and a diamond-shaped inlay ...

Pair of amazing wrought iron dragon, pendant lanterns with frosted glass inserts these were acquired in Bethlehem, Pennsylvania. Any questions feel free to reach out overall length t...

Pair of neo-Gothic stucco sconces with old stone patina. These gargoyles come from an old light fixture and have been mounted as sconces by our cabinetmaker. In the mid-19th century,...

Italian wrought iron Dragon Andirons, 1920s Beautiful Hand Craftmanship.

Floor Standing Wrought Iron Gothic Torchere This is a very attractive floor standing lamp, the top is beautifully worked wrought iron with 3 sconces set on a sturdy wrought iron ba...

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 ...

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...

For sale a very rare early 19th century infants coffin carrier, this would of been housed on a horse and cart hearse. The casket has a decorative wrought...

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

Stunning and sculptural, Arts & Crafts era, church bible or book stand. This late 1800s bible stand has beautiful details and it is in remarkably good condition. The stunning overal...

19th century Gothic oak bookcase designed by Augustus Welby Northmore Pugin, the rectangular crenellated top with octofoil panels filled with carved roses, fleur de lis, and a portcullis on a Tudor rose back panel above a cavetto frieze mounted with carved oak leaves above two doors, each with two Gothic arched apertures filled with unique metal grilles, enclosing three adjustable shelves to each side, the base section with two blind arcaded doors enclosing an adjustable shelf, on a double plinth base, the lower plinth later, the interior stamped twice 'CLAREMONT', the reverse inscribed in ink 'Mr Young 18.5'. Provenance: Supplied for the Palace of Westminster and designed by AWN Pugin in conjunction with Charles Barry (who was largely credited for Pugin's designs) as part of the refurbishment of the Houses of Parliament after the fire of 1832, later removed and by 1866 recorded at Claremont House, Esher. This robust Gothic bookcase, enriched with Elizabethan cusped tracery and heraldically-charged castellations, is conceived in the William IV romantic English manner introduced as the ‘New Palace of Westminster’ style, with the collaboration in the mid-1830s of the architects Charles Barry (d. 1860) and A.W.N. Pugin (d. 1852). Westminster Palace’s ‘fort portcullis’ badge is displayed in cusped tablets within embattled parapets, which are flowered with the English cinquefoile rose. This bookcase appears to be a precursor for the more florid bookcases designed for the New Palace by Pugin in the mid-1840s. It may possibly have been intended for the King’s Tower (now called the Victoria Tower). Pugin established a furniture manufactory in Convent...

Buffet deux corps Spanish cabinet, circa 1890 Gothic Revival, solid oak Nice patina Good antique condition Shipping: 150/98/94 105 Kg   

An English bleached oak Gothic Revival desk with linenfold motifs from the first half of the 19th century. This English desk features a rectangular top over three drawers and two sid...

Designed to pair with the historic Orena Adobe in Santa Barbara, a Spanish influenced top cresting, sharp geometries and six-sided tapered shape. C...

Hammered Copper and Iron Martini table / occasional table with round top and four footed base, Spain, 1930s. This gueridon / pedestal has a thick round hand-hammered top with a nice ...

Housing one light each. Will be rewired with certified US UL sockets for the USA and appropriate sockets for all other countries and ready to hang. Rare aqua blue Murano glass lanter...

A striking example of 19th-century Italian craftsmanship, this antique Gothic-style lantern features elaborate architectural detailing inspired by medieval Gothic design. Rendered in...

A pair of handcrafted solid copper Gothic Revival hinges with thistle and hand chased decoration.

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 ...

Gothic Revival Buffet in Carved Oak, France, Late 19th Century A domestic cathedral carved in oak A masterwork of French Gothic Revival design, this late 19th-century buffet transfo...

Gothic Revival 'sermon on the mount' wall plaque with Jesus teaching. This large size work of religious art depicts Jesus and He is surrounded b...

A nice iron gothic pendant light from Italy with nice bronze decorative details with original milk glass panels ..this is a solid good light ready for install tested and CSA complete...

Impressive and all handcrafted, Gothic hallway or porch light fixture. If you are a collector of rare and all handcrafted Gothic antiques then this one of a kind lantern could be fl...

Awesome large-scale antique Italian bronze Vecchio Greenman door knocker. With a resonant knock worthy of the great hall of any castle, this trul...

A striking early 20th century American Spanish Revival floor lamp, showcasing exceptional hand-wrought iron craftsmanship and rich period c...

Spanish wrought iron floor ashtray or drinks / cocktails table standing on a tripod base, Spain, 1940s. Handcrafted in wrought iron. The top stands on a tripod base with twisting de...

19th century carved oak mirrored sideboard of grand proportions, circa 1860. Here we present a profusely carved buffet comprising of 4 sections. 2 pedestals, top surface and mirror....

A Gothic Revival style quarter sawn oak barley twist hall or centre table with carved florets to the blocks that join the H stretcher on squashed ball feet and wonderful wild figurin...

Neo-Gothic walnut armchair, 19th century Large neo-Gothic walnut armchair, 19th century, cathedral seat. Contact us before ordering to confirm product ...

Belgium / 1850 / panel / oak / Neo-Gothic / Antique Highly decorative 19th century Flemish panel with hand carved Neo-Gothic decorations in oak. The panel consist of four rectangle ...

19th Century French Gothic Revival Hall Bench in Stripped Oak brings the romance of medieval architecture into a richly carved and beautifully scaled piece of antique seating. Craft...

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

A Gothic Revival oak display cabinet with an open display area to the top and little ear shaped details to each side and a castellated decoration below the glazed door, with five arc...

Exceptional oak neo-Gothic fireplace and hood. The uprights sides of the fireplace are composed of two columns with capitals foliage patterns, all surmounted by a reserve on which is carved an ermine (heraldic symbol). The lintot of the hearth features a mascaron representing a witch's face carved in high relief with on each side a pattern of parchments. The sculpture on the panelled hood represents a salamander. The salamander is a mythical animal capable of living in fire and extinguishing it. It is a symbol used especially in alchemy and heraldry, it is also the emblem of the King of France François 1er...

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 very pleasing, late 19th century, double compartment tea caddy. This marvellous and rare tea caddy is in very good condition and the burl walnut has a truly warm, deep and rich pa...

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...

Beautifully handcrafted and excellent condition two-piece Gothic bookcase. We are always on the lookout for top quality carved and handcrafted Gothic Revival antiques and to have fo...

A large and impressive Gothic Revival fire grate in wrought iron with brick fire back. The front supports swept out on splayed feet with curved elongated uprights with dragons heads ...

Beautiful console for displaying with saint statuette. This finely carved wooden wall console presents a richly detailed devotional shrine, centered around a sculpted figure believe...

A large pair of tall French 19th century Gothic Revival style carved oak and parcel-gilt Church pedestal stands. The slender body stands, each centred ...