Gothic Revival Furniture

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...

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...

Fabulous Victorian Gothic hall tree with a mirror and a cast iron umbrella tray. Four brass coat hooks with porcelain tips. Fresh black paint, grey on...

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...

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

Charles Bevan under licence to Marsh Jones & Cribb. A 'New Registered Reclining Chair'. A Gothic Revival reclining upholstered arm chair, with pegged oak frame and original casters. The brass mechanism is in great shape still works effortlessly. Measures: Height 40 inches, width 26 inches, depth fully retracted 30", fully extended depth is 45". Marsh and Jones began making furniture around 1850, originally known as “Marsh and Jones: Medieval Cabinet Makers” of Leeds", becoming Marsh Jones and Cribb in 1867 and exhibited at the Paris Exposition in 1878. They employed Charles Bevan who in 1865 gave them licence to manufacture his successful ‘New Registered Reclining Chair'. Bevan designed the furniture and interiors for the son of Sir Titus Salt an enormous commission for his marital home Saltaire. Another leading architect and interior designer Bruce J Talbert...

Large 19th century Flemish carved oak cabinet circa 1870. Profusely carved cupboard of grand proportions in the baroque revival taste.  Comprising of 2 sections. Understated cornic...

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...

Note that we arrange the shipping ourselves to ensure a smooth, secure, and reliable delivery. This allows us to provide the best possible service and care for your purchase. Beauti...

Beautiful Gothic style hand forged antique fireplace tool set on stand. Italy, 1930-1940. The rack stands up on a footed base with scroll ending feet and foliage accents at both side...

Bruce Talbert attributed possibly for Cox and Sons. A good period Gothic Revival oak desk with the original leather writing area and Y shaped supports bel...

This monumental Gothic Revival hall bench is a tour de force of architectural woodwork and Victorian-era grandeur. Masterfully crafted with pointed cathedral arches and intricate pie...

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

English Gothic-style (19/20th Century) oak cane/umbrella corner stand with a tracery carved panel.

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

Large Gothic Revival Brass Crown Chandelier with Colored Glass Cabochons, Spain, 1920s Description: Striking Gothic Revival crown chandelier exe...

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

A magnificent Neo-Gothic tabouret stool / ottoman, 19th century, most likely Italian (Southern Italy; Kingdom of Two Sicilies), parcel gilt and polychrome painted frame, padded seat ...

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 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...

Museum quality sculpture of a serene possibly Saint Catherine of Siena. This exquisite Italian alabaster bust, carved circa 1890 and set upon a dark, polished marble base, emanates ...

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

France / 18th century / coat rack / oak, copper / Baroque / Gothic revival / antique Antique coat rack in hand carved oak from the 18th century. This impressive rack features four a...

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 ...

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

a fantastic example of Gothic revival furniture, the robust pair of ebonized Gothic style arm chairs with padded back with openwork pointed arch crest flanked by turned stiles; above...

Gothic Style Oak Throne or Gothic Castle Armchair. Magnificent and monumental solid oak throne in the Gothic castle style. 19th century French work with a tapestry in the back repres...

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

Beautiful hand carved Gothic style hall chair with Fleur-de-lis, Trefoils and other gothic accents. Chair has a good weight to it with the leopard print fabric for fun.

A.W.N Pugin style of a Gothic Revival oak coal purdonium with seed carving to the edge of the top and linen fold carvings to the front and to the sides with blind fret details to the...

Spectacular pair of English cast iron garden benches having a "serpent and grape" pattern by Coalbrookdale Foundry. The benches have a rare iron slatted seat and backrest. The end supports feature a snake curled around the legs eating a grape cluster. The gracefully curved arms end with dogs head terminals. The patinated iron has a painted finish. Excellent joinery and craftsmanship from a historic foundry. Also known as "dog and serpent...

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...

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

Forged single iron sconce in the manner of Gilbert Poillerat. Incredibly detailed fine quality iron sconce. Neo-Gothic/ Spanish Revival in style wit...

This is an exquisite 19th Century turned wood mahogany hall or window bench/ stool with the incredible hand knitted needlepoint fabric in vivid yellow and blue. It is sturdy and rea...

A gothic revival pitch pine altar table with two-plank top raised on a trestle form base. English, late 19C. Stock ref. #3053 Well-suited four use as a breakfast table or desk. ...

Circa 1880 French Gothic style Baldachin or Statuary Niche. Derived from canopies for processions, the term has come to signify all such coverings, most famously the Bernini high alt...

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...

English Gothic Revival style (19th Century) oak 3 fold screen with stained and leaded glass panels.

19th century French Gothic oak buffet is a marvel of hand-worked craftsmanship and the sculptor's art, all in one piece! Rendered from old-growth oak...

A refined Aesthetic Movement occasional table in the Anglo-Japanese taste, dating to the late 19th century, circa 1870–1890. This elegant example features a shaped, octagonal top fra...

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

Great looking and deeply carved Gothic Revival bracket for displaying a Saint statue. This Gothic console for wall mounting dates from the late 1800s and it has a marvelous combination of floral Gothic elements that make it a joy to own, to use and to look at. All handcrafted more than 100 years ago and always well taken care of, this Gothic Revival wall bracket has the most wonderful shape and a striking patina. This organic design with its natural, flowing lines of the deeply carved Gothic leaves also give it an almost circular look and feel. This rare church relic was once connected to a church column where it would undoubtedly have been the base for a marvelous Saint statue. If you look closely at the image of the backside, you will be able to see that the rounded part has been professionally flattened out so that it now can be used against a (flat) wall. Apart from a few minor imperfections this Gothic antique of approximately one hundred and fifty years old could not be in better condition. Thanks to the thick wooden opening in the back, mounting this antique bracket...

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...

Mid-19th century profusely carved french walnut cabinet, circa 1850. 2 part carved walnut cabinet. Top section of beautifully carved double doors, flanked by columns, surmounted by ...

Substantial oak alter / hall table, of architectural form with very large rectangular top, above pierced Gothic freeze raised on trestle legs united by carved trefoil stretcher. Dimensions: Height 36...

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

A hardwood polychromed architectural finial from Belgium. Circa 1800, possibly earlier. Intricately hand-carved and decorated in typical neo-gothic fashion, the outside is finished...

A medium sized octagonal wall mirror in gilt wood / oak. It was made in the mid-late 19th century Scandinavia - either in Denmark or Sweden. It features its original mercury mirror g...

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...

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.

A striking example of 19th‑century French metalwork, this wrought‑iron candle holder embodies the dramatic elegance of the Neo‑Gothic revival. Tall, sculptural, and richly expressive...

A 19th century French oak fully adjustable reading table in the Ecclesiastical Gothic style. Circa 1880. The table has a rounded rectangular plateau with two book rests, terminating...

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 very large and Majestic ornately detailed antique 19th century Victorian cast iron fire grate in the Gothic-Revival manner. The large Doric arched backplate centred with an Heraldic Plaque...

A striking example of 19th-century French craftsmanship, this neo-Gothic umbrella stand. Hand made in solid oak it channels the architectural drama and ornamental richness of medieva...

This exceptional 19th-century French Gothic Writing Desk is crafted from richly patinaed solid walnut and showcases the dramatic architectural char...

Handsome vintage Gothic Revival style architectural cast aluminum decorative window panel or scroll grate wall hanging with baked textured paint finish. Beautiful condition, keeping ...

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

A beautiful pair of Gothic Revival style gilt-wrought iron wall sconces with red lampshades (new), Spain, 1940s. Each wall light fixture has one socket for E14-size light bulb. Dimen...