Gothic Revival Furniture

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...

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...

Pair of English Gothic Revival style (19th Century) mahogany doors with linen fold base and Gothic style top (PRICED AS Pair). Doors are 23.25" each

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

Floor Standing Wrought Iron Gothic Torchere This is a very attractive floor standing lamp, the top is beautifully worked wrought iron with 3 sconces set on a sturdy wrought iron ba...

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...

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

Magnificent 1960’s Italian Gothic Revival walnut toned wood and glass extra-large bookcase or display cabinet with plastic accents. Comprised of 2 pieces, a top hutch with glass shel...

A W N Pugin, made by Gillows of Lancaster. Stamped Gillows to the back legs. A set of four Gothic Revival oak dining chairs. Measures: Height 34 1/2 inches. x width 17 inches. x d...

Rare hand carved stone Wellhead cistern Basin Antique Fountain Focal point LA CA. 19th Century Neogothic Water Wellhead hand carved stone planter Basin ...

Neo-Gothic walnut armchair, 19th century Large neo-Gothic walnut armchair, 19th century, cathedral seat. Contact us before ordering to confirm product ...

19th Century French Gothic Revival Hall Bench in Stripped Oak brings the romance of medieval architecture into a richly carved and beautifully scaled piece of antique seating. Craft...

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 ...

Crafted in France circa 1870, this striking antique oak chair reflects the Gothic Revival style through its architectural silhouette and ecclesiastical purpose. The tall pierced back...

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...

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...

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

Extraordinary 18th century English oak pub bench / settee / sofa. A rectangular form with high back and red velvet upholstery. Features Gothic revival pane...

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

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 ...

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...

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...

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

Exceptional 12 foot long Tuscan style banquet trestle table. Classic design and beautifully crafted of solid hardwood planks (not veneer). Dated and signed custom piece made by an ...

Pair of Swedish Neo-Gothic Hand-Carved Wooden Candelabras, 1910s Rare and highly decorative pair of tall Swedish Neo-Gothic candelabras, handcrafted in the 1910s. Made from pinewood...

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

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...

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

A pair of mid 19th-century Oak Library armchairs in the manner of A.W.N. Pugin. Made in solid English Oak with wonderful original colour and patina , Gothic Revival throne-armchairs ...

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...

Pair of extra large Spanish gilt iron and metal three light gothic style wall sconces, circa 1970s. Each sconce has three candelabra sized sockets on a tall holder that is mounted to...

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...

Unusual Pair antique cast aluminum / zinc garden urns / planters., seated griffins supporting lobed planting bowl above. Griffins are mythological cre...

19th century solid oak gothic revival butlers tray on stand circa 1870. Fine quality butlers tray on original stand, unusually made in solid oak from Sweden. Shaped gallery with ha...

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

This pair of oak spiral staircases is a fascinating example of 19th-century Neo-Gothic cabinetmaking, likely originally designed to lead to a pulpit or a church gallery, combining a ...

Pair of English Gothic Revival style (19th Century) oak carved railing panels with open design and finial (PRICED AS Pair).

 An unusual set of 6 early 19th Century oak dining/hall chairs, in the rectory Gothic manner. The arched backs with centre quatrefoils and foliate oak leaf carving, flanked by spires...

This is an early English bench made cabinet by Marsh, Jones, Cribb & Combany. It would make a great bar and does have two glass shelves. This manufacturer has been in business since...

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...

19th century Flemish carved oak hall cupboard on stand, circa 1870. Fine quality gothic revival oak hall cupboard, incorporating older carved elements. Main feature of this unusual ...

Portugal / 1850 / wall panels / oak / Neo-gothic A large Antique oak panel, carved on both sides, hand crafted in Portugal. Dating around 1850, this oak panel displays exceptional h...

19th century Gothic oak bookcase designed by Augustus Welby Northmore Pugin, the rectangular crenellated top with octofoil panels filled with carved roses, fleur de lis, and a portcullis on a Tudor rose back panel above a cavetto frieze mounted with carved oak leaves above two doors, each with two Gothic arched apertures filled with unique metal grilles, enclosing three adjustable shelves to each side, the base section with two blind arcaded doors enclosing an adjustable shelf, on a double plinth base, the lower plinth later, the interior stamped twice 'CLAREMONT', the reverse inscribed in ink 'Mr Young 18.5'. Provenance: Supplied for the Palace of Westminster and designed by AWN Pugin in conjunction with Charles Barry (who was largely credited for Pugin's designs) as part of the refurbishment of the Houses of Parliament after the fire of 1832, later removed and by 1866 recorded at Claremont House, Esher. This robust Gothic bookcase, enriched with Elizabethan cusped tracery and heraldically-charged castellations, is conceived in the William IV romantic English manner introduced as the ‘New Palace of Westminster’ style, with the collaboration in the mid-1830s of the architects Charles Barry (d. 1860) and A.W.N. Pugin (d. 1852). Westminster Palace’s ‘fort portcullis’ badge is displayed in cusped tablets within embattled parapets, which are flowered with the English cinquefoile rose. This bookcase appears to be a precursor for the more florid bookcases designed for the New Palace by Pugin in the mid-1840s. It may possibly have been intended for the King’s Tower (now called the Victoria Tower). Pugin established a furniture manufactory in Convent...

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...

Rare hand-crafted architectural lantern, early 1900. This is one of those lanterns that immediately stands out. A hand-crafted architectural pendant from the 1910-20, with a presenc...

Pair of 19th century oak and leather armchairs circa 1890. Good quality pair of show frame wing back armchairs.  Complete with original brown leather which still shows traces of an ...

Unique and impressive, Gothic style chairs with an amazing patina. These rare and solid oak church or monastery chairs have a beautiful patination ...

An impressive Victorian Gothic Revival country house oak umbrella / stick stand. English. Circa 1880. Delivery included in mainland England or Wales. Made in solid oak, the stand w...

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

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...

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

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

These richly carved chairs are excellent examples of late 19th-century to early 20th-century Renaissance Revival seating, most likely produced in France or Northern Europe during the...

A carved marble pinnacle, or spire, of hexagonal tapered form, ornamented with a plethora of curled-leaf embellishments termed crockets, the whole topped with a pineapple finial. In ...

Small Gothic table clock with gilt bronze (or possibly golden) pocket watch by John Worboys of London, 1780-1810. We know too little about antique ...

Charles Bevan, for Marsh Jones & Cribb attributed. A large and exceptional English Aesthetic Movement exhibition quality wall mirror or overmantle. Originally known as “Marsh and J...

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 ...

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...

English Victorian Gothic Revival-style (19/20th Century) mahogany dining table with filigree apron and stretcher. (2 leaves - 14 inches each)

Late 19th C., French Gothic Revival cabinet, with interior shelf and central door. Heavily adorned with carved panels to front and sides. The front is comprised of panels flanking a central door. To each side of the door are two beautifully carved panels. The door has brass hinges and escutcheon. It locks with the key retained. The carving is mirrored on both sides of the piece, each comprising five carved panels. The red undertones suggest that this is a chestnut rather than an oak piece. The overall structure owes much to the Gothic Revival movement of 19th century France, with a nod to Renaissance Revival. The door panel is dominated by a lovely example of Gothic tracery in the form of a half moon “window...