Gothic Revival Furniture

With its time-softened silhouette and storied patina, this French provincial buffet carries the imprint of centuries—an object whose presence conjures both vernacular memory and scul...

Gothic Revival 18 Light Brass Chandelier. Circa 1920s. Two tier 18 light chandelier. Brass with original finish. Grape and vine detail work. ...

Gothic Wrought Iron Candelabras For Seven Candles, Twisted Stems & Tripod Bases Offered for sale is a pair of gothic revival style hand-wrought iron candelabra which accomodate ...

Elegant French bronze letter rack, late 19th century. The openwork design features intricate Gothic Revival motifs with stylized foliage, quatrefoils, and decorative details, complem...

These richly carved chairs are excellent examples of late 19th-century to early 20th-century Renaissance Revival seating, most likely produced in France or Northern Europe during the...

19th century English Gothic Revival style oak high back carved and filigree Bishop's throne chair with griffin finials.

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

A unique bronze, iron and marble telephone stand (better use today is a bar cabinet) Attributed to New York Designer and Manufacturer, Oscar Bach. Stand has an marble top with a heavy veining and a bright finish. The door in the front has ornate bronze figural work with green enameled steel-panel backdrop, framed by green enameled wrought-iron frame. Similar treatment to either side. The back has a slot with slip in a door to allow for the telephone cord...

4 English Gothic Revival-style (19/20th Century) bronze 6 sided hanging lanterns with filigree panels. (PRICED EACH).

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 ...

Elegant small mirror made of wrought iron and hand-forged, in neo-Gothic style. Its "gate" shape evokes that of a Gothic window or stained glass window, characterized by an ogival pr...

Pair of Heavy 19thC Gothic Revival Brass Altar Candlesticks converted to table lamps - Attributed to Jones and Willis Birmingham - 18" diam x 34"h - The lampshade(s) are newly handma...

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

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 ...

An impressive Victorian Gothic Revival country house oak umbrella / stick stand. English. Circa 1880. Delivery included in mainland England or Wales. Made in solid oak, the stand w...

Rare hand carved stone Wellhead cistern Basin Antique Fountain Focal point LA CA. 19th Century Neogothic Water Wellhead hand carved stone planter Basin ...

19th century Gothic double-sided solid pine exterior door was crafted from solid pine which has been fully stripped and ready for staining or painting to complement your project! The...

Vintage solid cast brass Italian door knocker with scary evil devil man face. The large mascaron crest has been crafted in grotesque style and is sometimes called a chimera. A mascar...

A rare and highly desirable antique French Gothic Revival three-piece clock garniture in gilt and patinated bronze, circa 1850. The set comprises a cathedral-form mantel clock in fin...

Deeply carved, extra large size, Gothic Revival corbel, bracket with a stunning patina. Finding unique antiques that have just that little bit more than your average is what we alwa...

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...

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 ...

John Pollard Seddon (1827-1906), a pair of Gothic Revival oak dining chairs. These upholstered dining chairs are the side chairs en s...

Gorgeous mid/late 1800 religious art for the collectors and enthousiasts. In antiques it very often is the case that how older the piece is, the better the quality and the details. ...

Handcrafted and rare Arts & Crafts wall cabinet with working lock and key. A beautifully handcrafted Arts & Crafts oak wall cabinet, dating from the early 20th century, originally d...

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...

Very Fine Gothic Revival Cathedral Style Wall Bracket/cabinet with Original Stained Glass and fine Bronze Details - cherub faces, door with detailed latch, column motifs, and scallop...

E.W. Godwin attributed for Northampton town hall. A gothic revival oak refectory table with cross braced legs united by an upper stretcher.

Stunning antique Gothic design, coffee or side table. This wonderfully bulky table really is of an impressive quality make and it also is practical in size. It comes with deep and b...

Hand-painted and hand-carved wooden sculpture of the Holy Mother Mary, presented on a small gilt Rococo-style wall bracket. This Mother Mary and Child sculpture is gorgeous for its ...

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...

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...

Carved oak dining set from the 1950s-1970s in the Gothic Revival style. The set includes one heavy refectory dining table with sculptural pedestal legs and 6.5 cm table top, and six ...

Unusual Pair antique cast aluminum / zinc garden urns / planters., seated griffins supporting lobed planting bowl above. Griffins are mythological cre...

Antique and good size Gothic Revival light fixture. If you are looking for an out of the ordinary chandelier then this antique European light fixture in the Gothic style could be p...

Fantastic highly carved Gothic Oak hall bench with full lions and winged dragons on the back panel. Full body mythic lions make up the armrests while the back panel has swirling drag...

Rare hand-crafted architectural lantern, early 1900. This is one of those lanterns that immediately stands out. A hand-crafted architectural pendant from the 1910-20, with a presenc...

A stunning Late Victorian Neo-Gothic gilt bronze altar stick pricket candlestick. Late 19th to early 20th century, the Continental European antique features an exceptionally executed...

This exceptional hand-forged wrought iron fireplace screen showcases the masterful craftsmanship of French metalworkers. Featuring intricate gothic scroll patterns that dance across ...

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...

Spanish gilt wrought iron drink / cocktails table standing on a tripod base, Spain, 1940s. Handcrafted in wrought iron with gilt finish. The round top stands on a tripod base with scroll ended feet. Nice patina. It will be the perfect choice for a contemporary or classical ambiance in any countryside house, or urban appartment. Use it as drinks table, smokers table to leave the ashtray or occasional side table for parties around the sofa. The larger larger Martini table shown at the images is avaliable at our 1stdibs marketplace. Measures: 53 cm H x 33 cm W x 30 cm D // 20,86 in H x 12,99 in W x 11,81 in D Diameter of the top: 22 cm // 8,66 in diameter. Spanish Iron Table...

A circular wrought iron chandelier defined by hand-forged scrollwork and a solid ring structure. The wide iron band is decorated with a hammered surface and small punched details, gi...

Fabulous pair of Chiavari Chairs grain painted to look like Rosewood. Fantastic job of recreating and imitating in the old world style. Caning is hand woven and in excellent conditio...

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...

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 ...

Wonderful craftsmanship, deeply carved, solid oak, Gothic Revival wall coat rack. Anyone who has ever visited a Gothic (Revival) church or another Gothic style building will immedia...

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

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

Rare Gothic revival church crucifix and a wonderful hand crafted work of religious art. Made and marked by Brom, Utrecht (see image 17). Brom of Utrecht was a family (or dynasty) of...

FAPG 19959D/2 Gothic Revival armoire New York, about 1835-1840 Mahogany, with brass hardware Measure: 104 in. high, 73 in. wide, 30 in. deep Exhibited: Hirschl & Adler Galleries, New York, 2011–12, The World of Duncan Phyfe: The Arts of New York, 1800–1847, p. 89 no. 45 illus. 89 Ex coll.: Private collection (probably R. H. Selstadt, Big Stone Gap, Virginia) Although no specific pieces of Gothic furniture documented as by Duncan Phyfe have come to light, there is considerable evidence that he, like various of his contemporaries in New York, embraced the Gothic style. For example, the catalogue of the Halliday & Jenkins auction sale of the contents of Phyfe’s furniture ware rooms, which was held on site at 192 and 194 Fulton Street, New York, on April 16 and 17, 1847, included a “mahogany centre table Gothic gilt pillar and Egyptian marble top” (Halliday & Jenkins, p. 3 no. 63); “12 mahogany Gothic chairs...

French iron lantern with colorful stained glass circa 1880 (Napoleon III) Total with the chain / 33", Lantern / H: 26", 10.5" by 10.5" Wired for US.     

19th Century Grand French Gothic Open Bookcase ~ Bibliotheque will make an impressive statement in any room! Hand-crafted from solid oak to last for generations, it features an open...

Magnificent 1960’s Italian Gothic Revival walnut toned wood and glass extra-large bookcase or display cabinet with plastic accents. Comprised of 2 pieces, a top hutch with glass shel...

A powerful testament to 19th‑century German ecclesiastical craftsmanship, this bronze crucifix accompanied by its original pair of candlesticks was produced by the distinguished foun...

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

A W N Pugin, made by Gillows of Lancaster. Stamped Gillows to the back legs. A set of four Gothic Revival oak dining chairs. Measures: Height 34 1/2 inches. x width 17 inches. x d...

Mid 19th Century Victorian Period Rosewood & Parcel Gilt Easy Arm Chairs - English circa 1860 - 28"w x29"d x 38"h (14" to the seat) Mid 19th Century Victorian Period Rosewood & Parce...

Fabulous massive bronze wall sconce lantern with a natural aged verdigras patina. Gothic Revival in style and with new mica panels. This will definitely make an impression installed ...

French oak stool This small chest is multifunctional: in your living room, bedroom, or entryway, it can serve as a small side table, stool, or storage unit, depending on your needs. ...

A carved marble pinnacle, or spire, of hexagonal tapered form, ornamented with a plethora of curled-leaf embellishments termed crockets, the whole topped with a pineapple finial. In ...