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...

Each jamb of the fireplace has a brown bear standing on a plinth holding a heraldic shield. Above the bears are carved capitals supporting a substantial breakfront cornice shelf. The...

Fine Carved Oak box seat settle, circa 1900, Back with 3 carved panels each showing 3 gentlemen in tavern scenes, gentleman bust on each end on top, Box seat with hinged lid, Pair C...

A magnificent pair of 19th-century hand-carved lounge chairs by the celebrated Italian sculptor Victor Aimone, whose mastery of Gothic Revival carving ea...

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

In the Gothic Revival or Renaissance Revival styles, this pair are sometimes referred to as "throne chairs" due to their imposing size and ornate carvings of lions masks, and more. N...

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

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

17th Century Style Gothic Look Oak Credence Side Hall Table. This timeless piece exudes elegance and charm. Crafted from high-quality oak, this table showcases a rich, warm finish th...

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...

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

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...

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

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...

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...

19th - 20th century French Neo-gothic fireplace basket - fire basket made of wrought iron and cast iron. The basket is in a good condition and is fully functional.

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...

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...

Uniquely French, these wrought iron "fire dragons" are great as decor in your fireplace, with or without the burning flames. With today's eclectic and layered interiors, the Gothic d...

A good quality set of four Gothic Revival oak dining chairs with twin pierced quatrefoil details to the arched top and bobbin turned l...

Charles Bevan for Marsh Jones and Cribb, attributed. A good quality set of six Gothic Revival oak dining chairs with geometric dot and...

19th century carved oak butlers tray on stand circa 1890. We are pleased to offer this gothic revival butlers tray on original stand.  Practical antique that offers many uses around...

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

Large size and excellent quality, solid oak Gothic Revival light fixture. If you have visited Gothic churches then you may have immediately recognized some of the wonderful desig...

For the collectors of rare and ready to use Gothic antiques. These beautiful and all handcrafted Gothic Revival picture frames with Biblical texts in Latin are an absolute joy to ow...

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...

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...

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

An exceptional and extremely rare Royal Worcester set of four porcelain marbled table salts supported by winged griffins dated 1863. This stunning set comprises of four small table s...

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 W N Pugin attributed, A Gothic Revival Oak Davenport with finely executed carved gallery to the top and a sloping writing area opening to reveal storage...

Exceptional wrought iron and glass coffee table, in the Gothic Revival style after Samuel Yellin. Interestingly the iron base folds to flat when not in use, for transport or storage...

This striking Gothic Revival hall tree, crafted from rich oak and dating to the late 19th century, features intricate carvings of the Green Man—an emblematic figure of rebirth and na...

Spanish Gothic Style Walnut wardrobe with Five hangers and carvings The doors features heads and symbols from gentlemen of this period. The original iron hardware makes so special t...

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

Hallmarked in Birmingham in 1905 by J. T. Wordsworth & Co. this striking Edwardian antique sterling silver jewellery box is of a rectangular casket form with a hinged lid. The bo...

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

Marco neogótico; Alemania, c. 1840 Bronce dorado y placa de porcelana esmaltada KPM Oratorio portátil Medidas: Placa: 19 cm de alto x 12 cm de ancho Marco: 41 cm de alto x 31 cm de ...

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

One of a kind, large and beautifully handcrafted, work of religious art. An antique bronze crucifix corpus of this size is a rare find and to have been given the opportunity to purchase one of such beautiful quality and details more than made our day. The striking anatomy and the unique patina of this large wall sculpture of our Lord Jesus are truly marvelous and we could see this antique go...

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...

***Reduced Delivery Rates - See Below or Click “Ask The Seller” to Request a Quote*** Antique Gilt Bronze French Empire Figural Four Light Torch Hanging Fixture with Flame Form Shad...

Handcrafted and truly impressive Neo-Gothic Church fixture that can also be used for candles. Over the decades we have sold a number of very good antique bronze, Gothic light fixtures for both candles and electrical bulbs. However, we never offered one as high and with as many Gothic details as this hand-crafted chandelier. You will rarely come across a Gothic work of religious art that is more elaborate and with as many Gothic details as this fit-for-a-castle pendant...

Stunning religious wall panel in thick relief with strong hook for easy mounting. For the collectors of stunning antique church relics we are also offering this marvelously hand carved pelican sculpture for wall mounting. The character ascribed to the pelican in this context is nearly as fabulous as that of the phœnix. From a clumsy, gluttonous, piscivorous water-bird, it was by the growth of legends transformed into a mystic emblem of Christ, whom Dante terms "Nostro Pelicano". St. Hieronymus gives the story of the pelican restoring its young ones destroyed by serpents as an illustration of the destruction of man by the old Serpent, and his salvation by the blood of Christ. The pelican in Christian art is an emblem of Jesus Christ, by "whose blood we are healed" and it is also a symbol of charity. Many early painters and carvers mistakenly represented it more similar to an eagle (much like in this antique church relic), and not as a natural pelican which is why most people today still are a bit confused at first when this stunning hand carved, symbolic bird is called a pelican. This striking and all hand carved, symbolic panel was originally part of a church or monastery communion rail...

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

Rare and wonderful antique clock from the early 1800s. Marked: S. Devaulx, Paris. Having an impressive, stylish and sizable antique clock like this gracing your mantel piece or sid...

This remarkable Neo-Gothic oak cabinet, crafted in France circa 1850, features exquisite detailing and hidden storage. Made from warm, dark oak wood...

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

Unique table crucifix and a wonderful work of religious art, dated 1912 and numbered. For us the most powerful statement will always be 'the truth will set you free'. It is what we have learned most from the life of Christ and of His teachings and it is the one thing we always think about whenever we look at a crucifix. Anyone who has tried to break down his/her ego and found a clearer consciousness in the process knows how healing and rewarding that journey can be. After that you can only be grateful for all the good things that are bound to come your way. Good things will come your way, because the universe needs people like you. Whomever created this amazing work of religious art too must have been inspired and motivated by the life of Christ, because how ever could anyone create a piece that is of such quality, so beautiful and so powerful at the same time. Both the beautifully designed bronze cross with the King of the Jews inscription and the amazingly detailed bronze corpus of Christ are of a quality that you will only rarely find on the open market. They are perfectly mounted on a stunning marble base and together they create one of the most impressive table or altar crucifixes...

A W N Pugin, made by Gillows of Lancaster. Stamped Gillows to the back legs. A set of six Gothic Revival oak dining chairs probably designed for the House of Lords...

19th Century French Gothic Hall Bench with Trunk is a stately example of the genre which dates back to the middle of the 12th century in France! Hand-crafted from solid oak, it feat...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely exquisite, vintage Theodore Alexander folding writing table desk with hidden storage and bro...

Striking early 1900s sculptural chandelier. This antique and good quality chandelier comes with three beautifully crafted winged dragons. With the lamp shades in the position that t...

Magnificent Mid 20th Century LightCraft of California Arts and Crafts Movement Gothic Revival medieval pendant chandelier. This c1940s, cast antique brass, 8-sided pendent features o...

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

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 ...

Morris and Co, In the style of, An Aesthetic Movement noir belge and red Marble gilded mantle or bracket clock with an important Gay Vicarino & Co French...

A.W.N. Pugin. A unusually large pair of Gothic Revival oak dining chairs with carved florets to the lower front legs and chamfered details to the show wood, probably designed for the Palace of Westminster.

Antique or vintage garden chair in neo Gothic style. The filigree legs support the round seat with circumferential downward drawn pointed arches and quatrefoils. The same design sty...

In the French or Spanish style, wrought iron base with thick glass top. The top shows significant scratching, but no chips.