Gothic Revival Furniture

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...

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...

A magnificent rare, large and most impressive 19th century Gothic Revival hand carved painted parcel gilt bibliothèque (bookcase - buffet sideboard - china cabinet hutch - vitrine) ...

A powerful and emotionally rich representation of the Sacred Heart of Jesus, hand-carved in wood, clay and richly polychromed, dating from the late 1800s. Likely originating from Fra...

Stunning and deeply carved nutwood, Gothic Art wall bracket, Corbel. If you are a collector of rare and striking Gothic antiques then this bracket could be the perfect addition to your collection. This all handcrafted and marvelously hand carved, 19th century wall bracket is a work or art in its own right. It depicts a medieval figure...

Top quality crafted and incredibly durable Gothic church lectern. This practical size lectern is remarkably well crafted and the design and patina are ...

Wonderful Gothic architectural print. Pierced ornaments from Lisieux, Bayeux, Verona and Padua. Steel engraving by R.P. Cuff after the original drawing by John Ruskin. Published, ...

Stunning Gothic architectural door with strong iron hardware in original frame. This striking and all hand carved door was originally probably part of a church or monastery and the ...

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

Stunning 19th century Gothic art pendant with shields and gilt scrolling patterns. This late 1800s church relic truly has an aura of religiousness about it. This sanctuary pendant i...

A late 19th century French Gothic Revival carved walnut burlwood tiered shelf-top locking corner cupboard with hidden storage compartment and ornate pyrography decoration. Hand-craf...

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...

Unique Gothic Revival two shelf sculpture stand with a beautiful patina. This impressive and adjustable Gothic stand dates from circa 1890. To find this rare and sizeable antique mo...

Rare and great folk-art workmanship mantel clock for the collectors and enthousiasts. Over the years we have had the pleasure of owning and selling a number of beautiful Black Forest antiques, but never did we come accross a 19th century Black Forest, Folk Art table clock of this design and subject matter and with such amazing natural organic details. This small church or chapel-like 'clockhouse' is entirely handcrafted out of all kinds of wood, but the most eye-catching is ofcourse the organic root wood. Each piece is like an abstract sculpture and depending on how you see things, they may look like one thing to you, but like something completely different to the next person. Because of all the natural materials that were used this small church has a stunning organic look and feel, but what really takes it to another level is the bell striking mechanism. Every six hours the church bell will ring many times, the door on the left will open at every 'strike', revealing the original monk sculpture inside (as shown in the attached video in this listing). With the hand carved crucifix on the right side being made of the same color and materials, it totally blends in with the entire organic design of this Christian antique. Over the many decades this good size and rare antique clock has also grown the most amazing patina and with the natural beauty and unique artisanship that it radiates people will want to stop and study its uniqueness. This work-of-art-table-clock comes with a single day clock mechanism, protected from dust by the original 'back door'. It runs and strikes perfectly and comes with an antique key for winding it. Apart from a few minor imperfections, this rare antique is in excellent condition, which makes it perfect for lovers of unique and rare clocks in general and for Black Forest and Christian Folk Art collectors in particular. Mind you, our fair price for this sizable antique cuckoo clock...

A stunning pair of very fine quality French Neo-Gothic gilt metal church reliquaries. circa 1860s Most impressive objets d’art, born in France in the second half of the 19th century, most likely Parisian gilded bronze and brass ormolu work, exceptionally executed sculptural form, the exquisitely detailed architectural cathedral shaped case having a removable pointed steeple roof with cross finial, opening to relic display case surrounded on all sides by original glazed glass panes, stepped base, rising on disc feet. Signed, stamped by maker / bronzier "BC" (unknown) model "5096" and other faint marks to lid interiors. Additional photos available upon request Dimensions: (approx) 14.75" High, 6.75" Wide, 6.75" Deep; 13.25 lbs total History: A reliquary (also referred to as a shrine, by the French term châsse or monstrance) is a container for important religious relics. The earliest reliquaries were essentially boxes, either simply box-shaped or based on an architectural design, taking the form of a model of a church with a pitched roof. These latter are known by the French term chasse, and typical examples from the 12th to 14th century have wooden frameworks with gilt-copper plaques nailed on, decorated in champlevé enamel. Limoges was the largest production centre; NB the English usage differs from that of the French châsse, which denotes large size rather than shape. Relics of the True Cross became very popular from the 9th century onward and were housed in magnificent gold and silver cross-shaped reliquaries decorated with enamels and precious stones. From about the end of the 10th century, reliquaries in the shape of the relics they housed also became popular; hence, for instance, the skull of Pope Alexander I was housed in a head-shaped reliquary. Similarly, the bones of saints were often housed in reliquaries that recalled the shape of the original body part, such as an arm or a foot. A philatory is a transparent reliquary designed to contain and exhibit the bones and relics of saints. This style of reliquary has a viewing portal to view the relic inside. The feretrum was a medieval form of reliquary or shrine containing the sacred effigies and relics of a saint. During the later Middle Ages, the monstrance form, primarily used for consecrated hosts, was sometimes used for reliquaries. These housed the relic in a rock crystal, or glass capsule mounted on a column above a base, enabling the relic to be displayed to the faithful. Reliquaries in the form of large pieces of metalwork jewellery also appeared around this time, housing tiny relics such as pieces of the Holy Thorn, notably the Holy Thorn Reliquary now in the British Museum. Condition: Superb museum quality examples, in excellent original unrestored antique condition with beautifully aged patina. Wear consistent with age and use. Heavily patinated - scattered oxidation. Overall wonderful examples. Typically reliquaries were not sold in pairs, so to find a matching pair such as this is exceptionally rare. Worldwide shipping available Local pickup available near Dallas, Texas Additional: We here at Lynx Hollow Antiques love religious antiques, from Christian tabernacles, Catholic altarpiece, life-size Buddhist temple sculptures, Hindu votive offerings, 16th century Islamic mosque architectural salvaged windows...

A large and imposing Gothic Revival fireplace in Irish black Kilkenny fossil marble with green Connemara marble columns. A plain frieze with simple ta...

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

Belgium / 1850 / panel / oak / Neo-Gothic / Antique Highly decorative 19th century Flemish panel with hand carved Neo-Gothic decorations in oak. The panel consist of four rectangle ...

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...

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

A striking pair of antique wrought iron five-light candelabra floor stands, showcasing a beautifully aged blackened finish. These stately candleholders feature twisted iron detailing...

Rare and finest Gilded bronze crucifix mounted on a oak cross. The striking details on this highest quality bronze sculpture of Christ are second to none and the antique gilt finish...

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...

Beautiful, early 1800s, wooden sculpture of a Holy Mary with child Jesus on her arm. This stunning church relic is another great example of the quality of 19th century, European craftsmanship and we are grateful for it to have found its way to our gallery. Also, because we are certain we will make a private collector or someone's congregation very happy with it. From the amazing body posture, the wonderfully serene facial expressions and the superb manner in which Her draped clothes are hand carved, one can see that this antique and sizeable Virgin Mary statue is the work of a master sculptor. This rare antique statue is made of solid oakwood and can be enjoyed on the floor, on a table, on a wall bracket or even mounted on your wall (via the sturdy antique metal hook...

OUTSTANDING Antique French Oak GOTHIC REVIVAL Bishops Throne Altar Chair with Reversible Liturgical Cushion~~HIGHLY CARVED ~~c. 1880s Highly detailed Gothic accents~~the m...

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 ...

Unique and impressive, Gothic style chair from the late 1800s. This rare and solid oak Gothic Revival church chair has a beautiful patination and it is as stabile as the day it was...

A fine & large 33" tall antique French Gothic ecclesiastical gilt bronze "Vive Jesus" candlestick, circa 1890. The candlestick is very finely cast of heavy gilt bronze, the top havin...

A beautiful bronze figure of Jesus Christ, a Corpus Christi. It hangs on a walnut cross, the frame is also made of walnut, with fine carvings. This piece dates from circa 1890. It i...

Victorian Pair Of Ladies And Gentlemen’s Gothic Revival Chairs. Gentlemen’s Chair Dimensions: - Height 102cm - Width 72cm - Depth 92cm - Seat heights 44cm Ladies chair Dimensions: -...

Truly extraordinary pair of English 19th century Gothic Revival architectural mirrors, nearly 9 feet tall. In the manner of Augustus Welby Northmore Pugin (aka God's Architect). I bought these for myself to use in my London flat...

A monumental antique Victorian Gothic Revival carved oak church altar / synagogue lectern / book stand podium. Hand-crafted in the 19th century, having a sloped book-rest to the top...

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

Wonderful Gothic architectural print. Steel engraving by R.P. Cuff after the original drawing by John Ruskin. Published circa 1880. On wove quality paper. Unframed.     

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...

Unique table crucifix and a wonderful work of religious art. For us the most powerful statement will always be 'the truth will set you free'. It is what we have learned most from th...

Quality carved, great design and good condition Gothic wall console / bracket / sculpture stand. This practical size, architectural church bracke...

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...

Large and high quality carved antique sculpture of Joseph holding the child Jesus. If you are looking for a great value for money, work of religious art then this quality carved church relic could be gracing your home or monastery or house of prayer soon. This may not have been carved out of the most expensive or hard woodtype, but that is not what this antique is about. This striking and meaningful sculpture is all about the natural manner in which both the little boy Jesus and Saint Joseph have been hand-carved out of wood and how an accomplished sculptor clearly has spent a whole lot of time, focus and dedication to get the details of this large and meaningful sculpture very right. In this case, the hands and feet, the curly hair, the serene facial expressions, the perfectly natural body postures AND the perfect draping of the cloths are the most eye-catching details. Ones that most mortals would never be able to create like this and it will have taken this skilled artisan weeks rather than days to create. We believe that this unique antique is made of basswood or pine and it has been hand patinated (original). This was probably done to make the entire sculpure look more warm and calm (no wood grains taking away anything from the beautiful details we described). This meaningful and quality crafted work of religious art is ready for you to enjoy and, to us, it breathes a holy serenity and beauty that will never fail to impress. No matter where you decide to have it on display, this ecclesiastical antique will never fail to impress and if you already have a place in mind for 'them' then maybe you should be their next custodian. Mind you, our price for this hand carved antique church statue...

Stunning 19th century Gothic art pendant with three gargoyle sculptures. This late 1800s church relic truly has an aura of religiousness about it...

Stunning and perfect running Gothic architectural design bronze wall clock, from circa 1880. If you like rare antiques in general and one of a kind clocks in particular then this handcrafted specimen for wall mounting could be the perfect addition to your collection or Gothic (inspired) interior. This fine quality antique...

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

Stunning and beautifully handcrafted, work of religious art. Large bronze crucifixes are a rare find and to have been given the opportunity to purchase one of such beautiful quality and details made us grateful. The well portrait anatomy and the perfect patination of this large Christ sculpture are truly marvelous and we could see this antique go to both private collectors/worshippers and to a church or monastery. Mounted on the wall this rare size corpus will make a lasting impression, also from further away. So if you are looking for a unique and aesthetically pleasing Christ sculpture to grace your house of worship or home shrine then this meaningful Christian relic...

Charles Bevan for Marsh & Jones Late Kendal. An exhibition quality Gothic Revival Burr Walnut drop leaf Sutherland table with fine inlaid decoration to the top in exceptional origina...

Beautiful Gothic Style wall mirror with handcarved frame. This wonderful and all handcrafted wall mirror from the late 1800s will look great, no matter where you decide to hang her....

This monumental and architectural church fixture could be the perfect addition to your Gothic collection or interior. If you appreciate the history and beauty of the French Gothic style then this amazing light fixture from the late 1800s could be perfect for you. When we first saw this work of lighting art, we were in awe and, as it goes with great antiques, we still are. The magnificent design, but also the quality of all the handcrafted and bronze elements make this antique chandelier a true work of art and a real joy to look at. With five Gothic style, winged gargoyle...

Symbolic and meaningful work of religious art with original label on the back. Framed oil on wooden panel, Madonna and child, after Italian Nicolo Barabino (1833-1891). The original...

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 ...

Antique French Gothic Revival Carved walnut mirrored credence cupboard or cabinet~~versatile size~~c. 1880s Charming antique cabinet in popular French Gothic Revival style~~upper...

A monumental antique Victorian Gothic Revival carved oak church altar / synagogue lectern / book stand podium. Hand-crafted in the 19th century, having a sloped book-rest to the top...

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...

An antique Gothic Revival long bench (church pew) offers quarter sawn oak construction with sides having carved fleur de lis finials over recessed arch panels, en verso "To the Glory...

Perfect size and shape church bench. This very well crafted, solid oak bench is a perfect example of quality made European furniture from the late 1900's. We felt very fortunate to ...

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

A magnificent rare, large and most impressive 19th century Gothic Revival hand carved painted parcel gilt bibliothèque (bookcase - buffet sideboard - china cabinet hutch - vitrine) ...

Antique English Oak Gothic Revival Lectern Bible Stand ~~late 19th century ~~OUTSTANDING Antique English Christian lectern or bible stand~~Carved trefoils and cross~~ 55" tall 22...

Belgium / 1850 / panel / oak / Neo-Gothic / Antique Highly decorative 19th century Flemish panel with hand carved Neo-Gothic decorations in oak. The panel consist of four rectangle ...

Handcrafted "Our Lady of the Sacred Heart, pray for us" banner. It must have taken a highly skilled seamstress an enormous amount of time to create this impressive religious banner....

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...

Rare 19th century carved mahogany Swedish pedestal desk circa 1880. Beautiful desk and rare to be made from mahogany for a Swedish piece, believed to be from skottorp castle in the ...

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

Beautiful handcarved giltwood gothic style ornament that once adorned a chapel or a church. Italy, circa 1850. Weathered and small losses. Measurement includes the wooden base. H:31,...

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

Antique French Carved Oak Gothic Sacristy Vestry Altar Wine Bar Cabinet~~c. 1880s In 18th and 19th century Europe, sacristy or vestment cabinets ...

Wonderful Gothic architectural print. Balcony in the Campo St. Benedetto, Venice Steel engraving by R.P. Cuff after the original drawing by John Ruskin Published, circa 1880 On w...

Compliment your entryway, hallway or mud room with this heavily carved antique bench. Crafted in northern France, circa 1870, and built of solid oak wood, the Renaissance style bench...