Gothic Revival Furniture

A pair of cast iron candlesticks by "CJ Vombach Frankfurt A. Main Sachsenhausen" in neo-Gothic style Signed in de base inside Circa 1880 Height 19 cm

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

A highly unusual and chic pair of circa 1840 French Troubadour 'Gothic' style console side tables having convex isosceles trapezoid or trapezium form rounded breakfront Carrara marbl...

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

A superb antique Victorian Gothic revival solid oak swivel desk chair, made in England and dating from around the 1870-1880 period. This is of outstanding quality, it is beautifully...

Practical size and ready to use, early twentieth century Gothic table. If you are looking for a practical size and excellent condition table to grace your living space then this unique Gothic specimen could be flying your way soon. All handcrafted out of oak and well taken care off by former owners, this made-to-last table...

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...

English Gothic Revival (19/20th Cent) oak monumental throne chair with tracery carved back and a center finial with upholstered red velvet seat and back

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...

Pair of Spanish mirrors from the mid-20th century. Finely carved, lacquered and gilded Neo-Gothic style furniture. Beautifully sized and proportioned mirrors that can easily be place...

A pair of Gothic Revival cast iron hinges, circa 1875 They are painted green one side.

Historistic chandelier Gothic style of Laxenburg so called after the Franzensburg near "Laxenburg Castle," the favored summer-residence of the Austrian Emperor of the house of Habsburg, which was erected between 1801-1836 in the style of an old Gothic castle. The name originates from the then emperor Franz II. It is Neo-Gothic blended with original artefacts. Materials & Techniques Notes: carved limewood, covered with beaten gold.

Great design and finely hand carved Gothic desk chair from the Arts and Crafts Era. This practical size chair from late 19th or early 20th centur...

Hand forged Gothic floor-lamp. If you appreciate the Gothic style as much as we do then you could be the next custodian of this amazing and all handcrafted floor lamp. A highly skil...

Monumental antique French Gothic Revival Vaisselier, bar back, server, buffet, sideboard or cupboard. Made of oak featuring paneled linen...

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...

Antique Wooden Carved Hand Painted Neo-Gothic Small Wall Cabinet France 19th Century Pediment Twisted Medicine Cabinet Gothic Revival Truly a beautiful rare and stunning antique hanging cabinet. Late antique 19th-century French gothic style hand carved solid oak one-door small wall cabinet. With a romantic hand painted door with flowers, and inside a nice layout. Twisted columns and is topped by gothic-like spires. And lots of more decorative details! In good authentic antique condition, with some normal traces of use and wear. Please see pictures and video, they are part of the description. This breathtaking antique showpiece...

Stunning Gothic Revival oak cabinet. The carved saints at the upper corners, ogee arch shape of the glass panes on the upper doors and in the carvings on the lower doors, the quarter...

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 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...

Can you imagine these firebucks in your fireplace with the flames burning on all sides? These beautifully and all handcrafted wrought iron, andirons were made to stand in your firep...

This 19th-century American Gothic Revival table is a breathtaking example of the period's craftsmanship and design sensibilities. Carved from solid pine wood, it embodies the intrica...

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...

Walford & Donkin. A high Gothic Revival oak armchair with carved and fretwork sides for The Art Furniture Company who were an architectural interior and furniture design partnership at 25 Garrick Street. Seat height: 42.5 cm Arm height: 62 cm The Illustrated London News on the 17th June 1867 wrote:, The Art Furniture Company was 'prepared to supply at ordinary trade prices, domestic furniture of an artistic and picturesque character, designs by C L Eastlake, A W Blomfield, and E W Godwin and other architects'. Eastlake's Hints on Household Taste of 1868 featured a cabinet designed by him and exhibited by Heaton, Butler & Bayne but probably made by the Art Furniture Co. Godwin designed 16 pieces of furniture for the firm in Japanese and Gothic Revival styles. His Anglo-Japanese buffet (illus. Soros (1999), CR 304-a) was executed by AFC as were some of his Gothic revival chairs for Dromore Castle, including the eagle chair...

Procession banner from the German pilgrimage site Kevelaar (near the Dutch boarder). The banner, in blue, red and beige silk with brocade, hangs from a wood carved and gilded pendant...

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

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

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...

BEAUTIFUL Antique French Oak GOTHIC REVIVAL Bench, Settee or Church Pew with Lift-Top Seat for Storage~~HIGHLY CARVED ~~c. 1890s Spectacular design elements featuring lin...

Handcrafted and truly beautiful Gothic chandelier for candles. In antiques it often is the case that the older a piece is, the better the quali...

19th-Century French Gothic Revival Hall Chair Steeped in history and artistry, this 19th-century French Gothic Revival hall chair is a true collector’s piece. Crafted from rich oak...

A square bronze lantern with four panes of glass to sides and roof, with petal shaped smoke outlet, pierced filigree work to gallery and a four arm branch within English Circa 1900

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...

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...

Large genuine chandelier in oak, wrought Iron & brass — formerly from a E uropean pub or restaurant. This impressive, circular chandelier was likely salvaged from a European pub, br...

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

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.     

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...

A substantial unglazed solid English oak arched exterior door in the gothic revival style. This door comes without glass, ready from custom-glazing as you desire, and includes a matc...

This Vintage Medieval Gothic Fire Screen with Crest and glass insert, is a unique and elegant piece perfect for adding a touch of historical charm to any fireplace. Made of wrought i...

Antique Religious Oil Painting, Antique Religious Icon, Antique Gothic Revival Religious Painting, Antique Gothic Revival Cabinet, Reli...

Wonderful 19th century antique Anglo- Indian Burmese carved hall seat from the 19th Century. Made from solid Teak, exquisite carving, this piece would have been made in Burma for th...

France / 1800 / Neo-Gothic steeple with niche for saint statue / wood / Neo-Gothic / 19t century A very rare and large antique Neo-Gothic church steeple with niche for saint statue....

The pair of antique sconces have cast iron filigree shields and light sockets. Wired for US electrical use and regular light bulbs. The sconces, with their rustic finish, would look ...

Compliment your entryway, hallway or mud room with this heavily carved antique bench. Crafted in northern France, circa 1880, and built of solid oak wood, the bleached Renaissance st...

Antique Brass Chandelier in Gothic Style – France, 19th Century A magnificent brass chandelier in Gothic style, dating from 19th century France. This masterpiece is designed to hold ...

Good size and impressive make, Gothic church altar crucifix. This ornate and all hand-crafted, bronze table crucifix comes with a good quality made a...

A Set of 4 Victorian Barley Twist Oak Dining Chairs This is a lovely set of High Back Dining Chairs, the barley twist columns on the...

A pair of gilt bronze candlesticks depicting two sitting griffins holding a bobeche on their heads forming the torch. They are laid on an oval base, with a foundry mark impressed und...

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...

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...

A rare grand Victorian Gothic religious church altar attributed to A.W.N Pugin (1812-1852) Hand-crafted of solid pine in the first half of the 19th century, having a removable octagonal top over conforming architectural well-form pedestal base with heavy-duty braced open interior, arched molding...

Striking elegant classical form Lovely thick lustrous patina Juxtapses with modern and contemporary interiors and collections Could be electrified as a floor standing lamp The pan wi...

An extraordinary and stately piece from the early 19th century, this French Gothic Revival Monks Bench, dating circa 1820, is a masterclass in craftsmanship and evocative design. Att...

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...

Neo-Gothic walnut armchair, 19th century Large neo-Gothic walnut armchair, 19th century, cathedral seat. H: 126 cm, W: 63 cm, D: 50 cm

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...

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...

A beautiful antique holy water font. Made of red onyx and a bronze palquette with a corpus Christi representation. The water bowl is made of crystal. Originating from France, around ...

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