Gothic Revival Furniture

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...

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...

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

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

Wonderful cast iron English garden bench in the Gothic style. Very heavy. Painted white with lovely naturally aged patina. Braced legs. Mid century. English.

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

A monumental antique Victorian Gothic Revival carved oak church altar / synagogue lectern / book stand podium. Hand-crafted in the 19th century, having a sloped book-rest to the top...

Large and high quality carved antique sculpture of Joseph holding the child Jesus. If you are looking for a great value for money, work of religious art then this quality carved church relic could be gracing your home or monastery or house of prayer soon. This may not have been carved out of the most expensive or hard woodtype, but that is not what this antique is about. This striking and meaningful sculpture is all about the natural manner in which both the little boy Jesus and Saint Joseph have been hand-carved out of wood and how an accomplished sculptor clearly has spent a whole lot of time, focus and dedication to get the details of this large and meaningful sculpture very right. In this case, the hands and feet, the curly hair, the serene facial expressions, the perfectly natural body postures AND the perfect draping of the cloths are the most eye-catching details. Ones that most mortals would never be able to create like this and it will have taken this skilled artisan weeks rather than days to create. We believe that this unique antique is made of basswood or pine and it has been hand patinated (original). This was probably done to make the entire sculpure look more warm and calm (no wood grains taking away anything from the beautiful details we described). This meaningful and quality crafted work of religious art is ready for you to enjoy and, to us, it breathes a holy serenity and beauty that will never fail to impress. No matter where you decide to have it on display, this ecclesiastical antique will never fail to impress and if you already have a place in mind for 'them' then maybe you should be their next custodian. Mind you, our price for this hand carved antique church statue...

This impressive chandelier is a fine example of 19th-century French wrought iron craftsmanship. Entirely made of steel, it features six elegantly twisted arms ending in drip pans wit...

Pair of antique wood carved Gothic Revival architectural Columns Anonymous 19th century; Belgium or Netherlands Wood Approximate size: 41.75 (h) x 11.75 (w) x 11.75 (d) in. An exceptional pair of tall and intricate hand carved vintage wooden 19th century church columns...

Graceful and all handcrafted antique light fixture. This early Arts & Crafts era pendant has an aesthetic beauty that you don't find anymore in this day and age. It has the most pleasing to the eye shape and amber color and the handcrafted brass has a marvelous patina. In images 2 and 3 you can see that this unique light fixture started its life as (and still is) a candle lantern. Because of the Gothic quatrefoil details this may have been a sanctuary lamp at the entrance of a church or monastery. The beautifully patinated brass is all hand-crafted, but the unique art glass shade with its unique hand-etched, flowery patterns and amazing color is what makes this antique truly special. Have you also noticed the 'stand-alone' etched oak branches with acorns? They symbolize growth and unlimited potential since an acorn can grow into a huge oak tree that, by itself, can seed an entire forest. Both with the light switched on and off you could not wish for a more stylish, European antique fixture. It is of the kind that you certainly don't find anymore in this day and age. This ideal hallway or bedroom pendant light...

A Very Fine and Large Stained Glass and Hand-Painted Vitreaux Panel depicting "The Presentation of the Virgin Mary", also called Entry of the Most Holy Theotokos into the Temple, feast celebrated in the Roman Catholic and Eastern churches on November 21, depicts the Mother of God’s entrance into the Temple. It was held in the Eastern church in the 6th century but did not become widely accepted in the West until the 15th century. The finely executed colorful stained glass panel beautifully displays the presentation of the child Mary in the temple...

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.     

George Smith and Co. The Sun Foundry, Glasgow, attributed. A Gothic Revival cast iron gate with both side railings in the style of Dr C Dresser with all-over Geometric decoration. Re...

Cottagecore aesthetic antique 19th century parcel gilt walnut Gothic Revival wall mirror Circa 1870 The intricate Gothic Revival details of this wall mirror epitomize the Cottagecore...

A pair of hexagonal stained glass wall lamps with green, blue and yellow panelling. Gothic revival in style and handmade in Scandinavia during the 1...

A rare and magnificent architectural ecclesiastical iron and bronze altar railing. Created in France in the 19th century, commissioned for a Victorian er...

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...

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...

This 1920s French Gothic Revival wooden pedestal showcases striking architectural influence and craftsmanship. Constructed from richly toned wood, the piece features an octagonal bas...

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...

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

A Gothic Revival style bronze and parcel-brass church candle chandelier / hanging sanctuary lamp, Spain, mid-18th century, probably from a famil...

Stunning and amazingly sculptural Gothic Art chandelier. If you are an antique collector with an eye for the extra special then this four light bronze chandelier could be right up y...

Exceptional and rare antique Neo Gothic wrought iron console table with family crest and original Rouge Royal marble top - riveted construction throughout - completely hand made - de...

Early 20th century oak extending dining table circa 1900. Baroque revival table, with oak veneered top standing on a substantial base of barley twist legs united by a stretcher deco...

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...

Rare Gothic bench with top quality carved, church letter panel and more. This beautifully hand carved, oak church bench from the early 1900s is in ...

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

This fantastical pair of wall-mounted tiebacks—originally designed to support heavy drapery in a richly appointed interior—epitomizes the Gothic Revival's theatrical flair as interpr...

A magnificent rare, large and most impressive 19th century Gothic Revival hand carved painted parcel gilt bibliothèque (bookcase - buffet sideboard - china cabinet hutch - vitrine) ...

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...

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 det...

A W N Pugin. Made by John Gregory Crace. A rare Gothic Revival four-door pitch pine wardrobe with hand-carved fleur de ley finials flanked with castellated...

Vintage handcrafted wooden stand cross with gilt bronze Christ and ornaments on a beautiful carved wooden base, Portugal, 1930-1939. Measures: Height 19...

Antique French Gothic Revival Dry Bar ~ Raised Cabinet in Stripped Oak combines extraordinarily sturdy architecture with geometrically-inspired carved detail inspired by the Gothic s...

Early 19th Century gilt wood Neo-Gothic processional cross, Germany circa 1810, mounted on an orb with carved swag detail, overlaid in gesso and gilt. A rare example of the neo-go...

French oak sideboard buffet in the neogothic style. From South of France Basque country (area near Spain). Goes very well with Spanish style déc...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning original Gothic Revival circa 1900 English oak Throne armchair with steeple back Please note...

Beautiful neo-gothic chandelier with six lights, in patinated bronze with gilded highlights. The hexagonal architectural shaft is pierced with quadrilobed crosspieces, inspired by th...

American Furniture Company Gothic or Spanish Renaissance Revival tallboy dresser, Circa 1930s. Operating out of Batesville Indiana since 189...

Unusual hand wrought fireplace tool set consisting of a poker, tong, shovel and stand. The set features a long beaked birds head in profile as its handles, it is in very good, origi...

Antique Gothic Revival Lidded Tobacco Pot 19th Century. This is a wonderful and very decorative antique tobacco pot or lidded pot, made in the late 19th century in a very distinct g...

Great quality workmanship, forged in fire Gothic Art candle chandelier or pendant light. This beautiful quality and all hand forged chandelier comes with clearly visible, Gothic qua...

Antique French Neogothic Caquetoire ~ Cathedral Chair ~ Armchair is an intriguing design, originally intended for visiting dignitaries allowing a VIP his or her own special seat. Cra...

Stunning 1800's Antique French Gothic Revival, Carved Oak, Crest, Credence Cupboard!! Antique Credence Cupboard, French Gothic Revival, Carved Oak, 19th Century, 1800s!! Embrace th...

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...

Large neo-Gothic stucco chandelier with old stone patina, depicting four large and four small gargoyles. The small gargoyles or chimeras at the top of the suspension are kneeling or crouching. The four large gargoyles...

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...

With its sculptural base and warm pine grain, this English side table from the 19th century offers a distinctive blend of rustic character and Gothic revival charm. The circular top ...

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

Stunning, top quality made antique pendant in the Gothic style. If you are a collector of rare and ancient looking Gothic antiques then this large size and possibly one of a kind pendant could be flying your way soon. With antique light fixtures as one of our specialities, we know how rare Gothic lanterns are and to have found one of this age, size, beauty and quality more than made our day. Also, because this all hand-crafted specimen is, except for the glass, completely original and in superb condition. What makes this stylishly blackened specimen stand out from the other Gothic lights that we have sold over the years, is the thickness of the forged wrought iron parts and its relatively clean-lined design. The forged iron is thick and strong and that too is why this large lantern light...

A pair of 1920's Gothic Revival armchairs. Also referred to as Jacobean, Spanish Revival and Renaissance Revival. Highly detailed carving with claw foot and barley twist detail. Meas...

Exceptional 19th century set of wrought iron and cast bronze fireplace tools, with dragon, griffin handles. The set features inscribed line drawn decorative surfaces, with twisted an...

Spanish coffer or chest made circa 1960. This pine and wrought iron chest has been fully painted, even inside. Bunches of grapes, lemons, melons, apples and watermelons adorn this co...

Stylish pair of girandole gold gilt candlesticks with marble bases and crystal prism lustres, designed with lady figures. They are height 36.5 cm / 14.37 inches, and the marble bases are 12.7 cm / 5 inches by 7.6 cm / 3 inches. We have replaced two missing lustres, though not the same design, blend well. Some of the lustres are chipped. We have given the candlesticks a light clean. This fabulous pair of Victorian Gothic Revival girandole candlesticks...

Alexander Calder (American, 1898 - 1976), Wire Figure, lithograph, 1944, signed in plate lower left, unframed. Dimensions: Image: 13.75" H x 11" W; sheet: 15.75" H x 12.75" W Deale...

Museum quality and condition work of religious art with amazing, hand carved details. This amazingly hand carved wooden wall plaque is not only of great quality and condition, it also has a patina that is unlike anything you ever saw. Over the decades we have sold a number of unique and interesting crucifixes, but we had not yet come across one that is inside such a beautiful branches and leaf frame in the Swiss Black Forest style. For us to have found it in this amazing condition again felt like a blessing and we are grateful to be able it to offer it to our 1stdibs clientele first. At the centre of this Christian-work-of-art-wall-plaque and behind the original, mouth-blown convex glass 'window' is an even more detailed sepiolite sculpture of Christ on the cross. The details in this crucifix sculpture...

Antique Gothic oak desk with leather top is atypical for the style, being raised up on turned legs and a classic "H" support, rather than sporting floo...

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