Gothic Revival Furniture

Antique Gothic Revival hand made solid oak side chair - exceptional bench made quality frame with warm aged patina - featuring hand carved gothic arches to the upper back (carved on ...

Spanish Drinks Table / Side Table / Martini Table in Gilt Iron with Wavy Top, Spain, 1940s-1950s A gold gilt hand-hammered iron drinks table with wavy edged top standing on a tripod ...

Irish Edwardian Gothic sterling silver sanctuary lamp, 1911. Hemispheric bowl with chased flowers and three oval frames of which two inset with Bleeding Heart and one with monogram; ...

Gothic Revival style pierced metal crown (likely an Eastern Orthodox wedding crown) - Gothic tracery including fleur-de-lis, quatrefoil, crosses and a...

19th century carved oak mirrored sideboard of grand proportions, circa 1860. Here we present a profusely carved buffet comprising of 4 sections. 2 pedestals, top surface and mirror....

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

Antique French Gothic Devotional Cabinet Religious Painting Carved Oak Kneeler. Direct from France, a stunning antique carved oak Gothic devotional cabinet with superb features, including a striking religious painting of Christ on the Cross, likely created as a special commission. The upper shrine is crowned with open carved oak Gothic tracery...

Scarce bronze hall bench designed by famed designer Oscar Bruno Bach (1884-1957). Over 6' bench with lion head, hand wrought, hammered, twisted bronze and fret work on faux leopard p...

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...

Spanish wrought iron floor ashtray or drinks / cocktails table standing on a tripod base, Spain, 1940s. Handcrafted in wrought iron. The top stands on a tripod base with twisting det...

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...

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...

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...

In the style of A W N Pugin probably made by Gillows. A large cavernous good quality Gothic Revival oak and burr oak bookcase. The upper section with subtle carved floral details and...

John Pollard Seddon (1827-1906), six Gothic Revival oak dining chairs. These upholstered dining chairs are the side chairs en suite t...

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

This remarkable set of four 19th century monumental solid silver candlesticks, each standing 68 cm tall, was crafted by the distinguished German silversmith Franz Xavier Hellner (181...

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...

This Spectacular, custom-made chandelier is not only a work of art, but an astonishing piece of early 20th-Century American craftsmanship. Every part of this 500+ piece fixture is a ...

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...

This is a large and impressive milk glass pendent. The glass shade must be among the biggest they could make. The shape is an elongated acorn and the look is very clean and elegant. ...

Charles Bevan. Marsh Jones and Cribb. A good quality pair of Gothic Revival oak desk or side chairs with inlaid and chamfered decoration.

Fabulous stained glass window large(36x42) with an archtop design and funeral pyre in the oval section. One tiny crack, see pics. Otherwise in excellent antique condition with lead a...

Beautiful and meaningful, Gothic church relic from the late 1800s. This stunning and all handcrafted five-light chandelier from the 1870s is designed in the shape of an advent wreat...

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...

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 nice iron gothic pendant light from Italy with nice bronze decorative details with original milk glass panels ..this is a solid good light ready for install tested and CSA complete...

Charles Bevan attributed. A gothic Revival side chair with scroll carvings to the upper sides and incised decoration framing the backrest, with chamfered, and carved, and dot decorat...

Wonderful Gothic eyecatcher to come home to, umbrella or stick stand. If first impressions count then you cannot go wrong with this Gothic Revival stand in your entrance. Not only i...

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.     

Another stunning hand-painted oil on canvas work of religious art. This antique oil painting was first hand-painted on canvas and later mounted onto a zinc backplate .. a traditiona...

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...

Pair of 19th-century French Bronzed Zinc Gothic Architectural Altar/Pricket Candlesticks, France, circa 1870s A stunning pair of 19th-century Fren...

Housing one light each. Will be rewired with certified US UL sockets for the USA and appropriate sockets for all other countries and ready to hang. Rare aqua blue Murano glass lanter...

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...

An English bleached oak Gothic Revival desk with linenfold motifs from the first half of the 19th century. This English desk features a rectangular top over three drawers and two sid...

Charles Bevan under licence to Marsh Jones & Cribb. A pair of Gothic Revival side chairs, with pegged oak frame and scissor style legs on the original decorative brass and ceramic ca...

Glorious set of 18 prints of Gothic Architecture in Scotland Steel engravings. After R.W. Billings Published by William Blackwood & Sons, Edinburgh. Dated 1848 Unframed.

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...

One very stylish, medieval looking, little antique stool created in the Arts & Crafts era. In the Arts & Crafts era many artisans experimented with incorporating different styles in...

Stunning and unique 'sermon on the mount' wall plaque with Jesus and the apostles carved in high relief. This large size work of religious art dep...

Pair Gothic Oversized Heavily Carved Walnut Arm Chairs Tall Back Thrones MINT!

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 ...

Stunning and rare Gothic Revival side chair. Striking Dutch design from the 1930s. Solid oak frame with original hand-carved elements. This wonderful Gothic Revival side chair is in ...

For sale a very rare early 19th century infants coffin carrier, this would of been housed on a horse and cart hearse. The casket has a decorative wrought...

St016 Victorian Gothic Revival hall bench in solid oak, having panelled back, sloping sides and lift up seat enclosing storage compartment above panelled base. This antique hall benc...

Monumental 19th Century Italian Hand Crafted Wrought Iron Plant Stand and Copper Pot Beautifully Crafted.

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

Circa 1870s English Gothic Revival writing slope desk box. A letter box is flanked by the original brass collared & hinged inkwells in brass surrounds (the hinges now a bit loose fro...

Beautiful and practical, one of a kind Gothic table with layered base. This handcrafted antique has a beautiful patina and this piece radiates nothing but quality, stability and durability. All hand-crafted out of solid oak only and with a strong and layered hexagonal base this unique Gothic table also is extremely stabile. The stylish Gothic crosses with the trefoil symbol on top, carved in all six sides of the stem of this table truly makes it a stand-out Gothic piece that will never fail to impress. The light warm patina and the perfectly circular table top are the perfect finish to this unique, impressive and highly decorative ecclesiastical table. This table is pretty much perfect and definitely a joy to own and look at. Finally, this table is standing on 6 perfect ball feet and they also literally lift this one of a kind antique above the average. Because of its size this attractive and beautifully constructed Gothic table can be used for all kinds of purposes and when used normally it will at least last another 100 years. This antique Gothic table...

Stunning church lectern for books or sheet music. This beautifully hand-carved oak bookstand is a remarkable example of late 19th-century Gothic Revival ecclesiastical furniture, or...

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

Good size, partially gilt and great looking Gothic Revival bracket for displaying a Saint statue. This Gothic console for wall mounting da...

A very fine early regency longcase clock with quarter striking complication, by William Moon of Holborn Bars. The eight-day movement with shaped plates and five turned pillars, has a...

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...

19th century Flemish oak and stain glass cabinet circa 1890. Narrow Flemish cabinet comprising of 2 sections, which rarely comes with its original stained glass panel in the top sec...

Charles Bevan, style of. A Gothic Revival hanging oak shelf with exposed through tenon joints with crossed wedges to each of those joints, crisply cut trefoils and opposite decorati...

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

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 ...

An exceptional Spanish Revival entry hall table, dating to circa 1910, beautifully handcrafted with a richly detailed wrought iron base, decorative brass accents, and an elegant blac...