Revival Furniture

Fantastic highly carved Gothic Oak hall bench with full lions and winged dragons on the back panel. Full body mythic lions make up the armrests while the back panel has swirling drag...

19th Century French Renaissance Buffet is ideal for the Old World decor! Hand-crafted and carved from old-growth oak, it features a rugged, intricate design including carved edging ...

A very fine antique Italian Florentine Renaissance Revival carved cabinet on stand, circa 1880. The cabinet has some of the finest c...

A good antique 19th century Italian Renaissance Revival carved walnut cassone chest, circa 1850. The chest having a lift up hinged lid with a carved scalloped molding below, the hing...

19th-Century Neo-Renaissance Oak Sideboard in Deep Brown A massive, oak sideboard/buffet in the Renaissance Revival style, dated to the late 19th century. The piece features a three...

Solid oak Renaissance Revival bookcase with superbly hand carved decorations. If you are familiar with style elements of the Renaissance era then you will immedidately recognize this practical size bookcase as a Renaissance Revival antique. In this particular case, you are looking at a Dutch specimen from the 1800s. If you are looking for a piece of this not-too-large and rare size then this bookcase could be perfect. It also is as strong and stable as the day it was made and its rare size and shape make this handcrafted, two-door bookcase an absolute joy to own, to use and to look at. The combination of the arched design of the upper parts of the doors with the antique glass panels...

French Majolica oyster plate with green acanthus leaves, circa 1890.

18th/19th Century Renaissance Revival Carved Figural Walnut Bench Italy, 18th/19th Century or older An exquisite 18th/19th-century Renaissance Revival carved figural walnut bench,...

Early 19th century Flemish carved walnut side table circa 1820. Character walnut single drawer side table. Top with inset leather panel and walnut border. Below a profusely carved d...

Exceptionally carved antique French oak Gothic sacristy vestry altar wine cabinet~~c. 1870s-1880s In 18th and 19th century Europe, sacristy or vestment cabinets...

A Fine and Large Italian Florentine 19th Century Baroque Revival Style Carved Walnut Figural Cassone Chest on Stand. The ornately carved drop-front cassone with an allegorical in-rel...

Large Dutch neo-Renaissance antique fireplace, very impressive and grande. Marble jambs made from beautiful black and green "vert de Patricia". Oak frieze with paneling and superb ca...

An exceptionally fine 19th century ‘Renaissance Revival’ silver sugar casket, showing a hinged lid richly decorated with repousse & hand chased foliate mo...

A highly unusual and chic pair of circa 1840 French Troubadour 'Gothic' style console side tables having convex isosceles trapezoid or trapezium form rounded breakfront Carrara marbl...

Historistic chandelier Gothic style of Laxenburg so called after the Franzensburg near "Laxenburg Castle," the favored summer-residence of the Austrian Emperor of the house of Habsburg, which was erected between 1801-1836 in the style of an old Gothic castle. The name originates from the then emperor Franz II. It is Neo-Gothic blended with original artefacts. Materials & Techniques Notes: carved limewood, covered with beaten gold.

Late 19th century French Empire revival style ormolu-mounted mahogany rectangular center table, after the model by Jacob-Desmalter of 1808 for the bedroom of Caroline Murat at the pa...

Exquisite large sterling silver souce or bowl ladle, sterling handle. Excellent condition, stamped with the Minerva Hallmark and the Makers initials LP. Solid and heavy piece ( 97 ...

Maiolica chargers are large, decorative ceramic plates that are part of the broader tradition of Maiolica pottery, a type of tin-glazed earthenware produced in Italy since the Renais...

This antique hand-carved alabaster sculpture of lamp is unsigned, but being attributed to Umberto Stiaccini of Italy and dates to approximately 1890 and done in a Neoclassical Reviva...

RARE FIND~~ Antique English Barley Twist Dinner Gong with Original Mallet 33" tall x 24" wide x 15" deep Gong measures 15.5" round x 3" deep Mallet is 20.5" long Sturdy, solid ...

All hand carved, quality workmanship and symbolic wall panel in thick relief with high border. The character ascribed to the pelican in this context is nearly as fabulous as that of...

Pair of magnificent French neoclassical 950 silver 7-light candelabra, ca 1880. Each: Six leaf-wrapped s-scroll arms each terminating in single leaf-and-dart socket, mounted to centr...

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...

A pair of antique European carved oak corner chairs with beautifully aged dark rich patina. Born in the early/mid-19th century, hand-crafted in Moorish Renaissance taste, having he...

A fine French Empire Revival 19th century giltwood and Gesso carved figural console table with matching mirror. The "D" shaped top console raised by a pair of seated winged sphinxes ...

Marvelous antique French jester sculpture. This large and amazing sculpture of a sitting court jester in the Renaissance Style truly is a rare find. ...

Late 19th Century bronze Gothic hall lantern with natural verdigris patination is a striking example of craftsmanship and timeless design. Intricate tracery, pointed arches and ornat...

Early 19th century French Renaissance Revival hand carved walnut display cabinet with exterior design details. The display cabinet is in good antique condition with age / use appropr...

Pair of Breton Brittany renaissance revival corner armchairs in solid oak mid 19th century France. Two beautiful provincial style French antique corner chairs...

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

One of a kind canopy bed or day bed made up of two scrolled silver columns and upholsterd with an Italian vintage pure silk brocade. Sourced in a private residence in Venice this 19...

After a 16th century Venetian design, winged putti with taloned legs support a turned bronze inkwell covered with a lid decorated with masks and garla...

This is an original church bench from the Episcopal Academy, founded in 1785, is a private, co-educational school for grades Pre-K through 12 based in Newtown Square, Pennsylvania. P...

An Our Lady Of Rosary lithograph, Germany, circa 1890s. A heavily distressed piece in period frame showing a history of devotion. sight: 15 ¾ by 19 ¾ in...

Ornately carved 19th century fantasy furniture centre or library table which came out of the Castello di Giove or as translated to Castle of Jupiter. Table is attributed to Valentino...

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...

A fine and rare Italian Venetian 19th century giltwood carved Rococo "Vernis Martin" style decorated credenza vitrine cabinet with a marble top. The upper single door vitrine with a ...

EXQUISTE Antique French PAIR of Oak WINE Buffet Doors~~Early 19th Century Fabulous pair of painted wine doors can be hung on the wall of any bar or game roo...

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...

Display sideboard : height : 285 cm (112 in.) ; width : 215 cm (84,6 in) ; depth : 70 cm (27,5 in.) Table (without extension) : height : 76 cm (29,9 in.) ; width : 170 cm (66,9 in.) ; depth : 120 cm (47,2 in.) / Extensions (x 2) : width : 45 cm (17,7 in.) ; depth : 120 cm (47,2 in.) Dresser : height : 180 cm (70,8 in.) ; width : 215 cm (84,6 in.) ; Depth : 65 cm (25,6 in.) Chairs : height : 114 cm (44,8 in.) ; width : 48 cm (18,9 in.) ; depth : 45 cm (17,7 in.) Woodwork attributed to Maison Meynard (1808-1889), Meynard Fils; ormolu mounting by Ferdinand Barbedienne (1810-1892) from drawing by Louis-Constant Sévin...

Beautiful design and practical size pair of Renaissance style candle sconces. This antique pair of bronze sconces will look great above a side table, your bedside cabinets or in a h...

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

A large bronze classical Roman figure of Mercury, after Giambologna (1529 1608), holding the caduceus & wearing his winged helmet, standing on one foot above the mask of Boreus, the ...

An antique Renaissance Revival dresser offers walnut construction with dressing mirror having carved foliate cartouche over frame with candle stands and flanking scroll corbels surmo...

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...

Massive Victorian Era Renaissance Revival hall tree and umbrella stand, circa 1870s. Made from walnut with a large glass plate pier mirr...

Signed " Meubles D’Art, M. Lerolle, Fabricant, 61, Rue des Sts-Peres. Paris " Remarkable carved wood cabinet, richly sculpted in the Neo-Renaissance style, and inlaid with vert de m...

This pair of perfume holder figures was produced in the mid-19th century by the well-known Parisian ceramist Jacob Petit (Paris 1796-1868). Couple made up of a man and a woman in typ...

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...

This antique hand painted porcelain panel is unsigned but was done in Italy in circa 1890 in the Roccoco style. The hand painted porcelain disc of La Madonna della Sedia, after Rafael Sanzio...

EXQUISITE 19th Century Antique French Oak Renaissance Revival Chest of Drawers ~~c. 1880s This is a gorgeous ORNATE French oak Renaissance Revival chest of drawers with intricate c...

A pair of 19th century French architectural fragments made into table lamps. Crafted from 19th-century French giltwood architectural fragments, this exquisite pair of table lamps sea...

Antique pair of Restoration period gilt bronze candelabra - featuring elaborate Neo Gothic bronze castings of masks, lions and scrolls on trefoil bases with hand hammered and chisel...

Antique French Side Table Petite Renaissance Carved Oak Trestle Desk Craft Table. Direct from France, an elegant, and petite, antique French carved library table or "bureau plat" desk. A very petite size for this style, making it extremely versatile for use in today's home!! Incredible detailed carving, captivating features that include ornate, relief carved lion masks on the canted corners and large carved foliate scrolls across the wide frieze. Quite unique feature here, the table top actually lifts open to reveal a ‘fitted’ interior compartment, probably originally designed for letter writing...

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...

English Gothic Revival-style (19th Century) walnut full size bed with carved finial posts. (Includes: headboard, footboard, rails)

Monumental Antique Mechelen Renaissance Revival China Hutch, circa 1890s. Made from oak with elaborate figural and floral carved details. Features vibrant original stained glass w...

19th century French Empire cloisonne bronze jewelry casket with blue velvet interior By: unknown Material: bronze, velvet, enamel, metal, copper Technique: gilt, cloisonné, champlevé, cast, molded, metalwork Dimensions: 5 in x 7 in x 6 in Date: late 19th century, circa 1890 Style: Napoleon III, Rococo Revival, Neoclassicism Place of origin: France This richly gilded jewelry...