Gothic Revival Furniture

Large group Antique French Gothic , Iron and Gilt wall sconce's,,, Wonderful design,, Strong presence,, Superior quality,, Beautifully constructed,, Wonderful gold gilt detailing,,To...

All handcrafted, hexagonal Gothic light fixture. If you are a collector of rare and ancient looking Gothic antiques then this relatively small ...

Stunning antique cupboard, gothic revival, carved oak, credence, foliates, 1800s, 19th century!! Gothic Revival oak credence cupboard, 19th century, canted case, carved with tracery and foliates throughout, having two small top cabinets, over central cabinet, open medial shelf, linenfold sides, rising on bracket feet, approximately 66.5" height, 49.5" width, 22" depth. Gothic furniture pieces are generally heavy and made of dark wood, with lots of intricate detailing and panels. The wood is usually stained or varnished in a dark colour, and any fabric used is also heavy, with materials such as velvet, leather or brocade. Gothic antique furniture...

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...

Greek icon of St. Luke the Evangelist, tempera on gesso on wood, depicting the evangelist with his symbol of the winged cow and writing the Gospel ...

An antique French Gothic style china cabinet by Rockford Chair & Furniture Co. Walnut with decorative cornice to top, carved doors with cross like pa...

Superb quality and very good condition Gothic stand with an amazing patina. If only the best and the rarest is good enough for you then this stunning church pedestal...

Beautiful antique French oak gothic revival bench or Settee with Lift-Top Seat and Storage~~HIGHLY CARVED ~~c. 1880s Spectacular design with cup and cover arms~~wonderful spoon carved...

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...

Wonderful Gothic architectural print. Tracery from the Campanile of Giotto, at Florence. Steel engraving after the original drawing by John Ruskin. Published, circa 1880 ...

Wrought iron floor lamp street or patio light lantern French midcentury, circa 1970 Good vintage condition with only minor signs of use for its age. Classical style. This can be r...

Pair of restored Witco Conquistador tiki dramatic high-back chairs in original red fur. These chairs are absolutely wild in the best kind of way. The original red fur fabric has a thick pile. This bright red upholstery adds drama to the high-back, iron cladded, hand-carved chairs. These highly collectible and hard-to-find thrown chairs were born of the jet-set era. The 1960s was the golden age of air travel and Americans were absolutely fascinated with “Exotica.” Ephemera from exotic tropical lands around South Asia were all the rage and gave birth to an explosion of tiki motifs in popular American culture. We have four of these chairs available, two arm chairs and two side chairs. This listing is for just the two armless chairs. The two armchairs are sold separate. We also have the matching dining table, sold separate. We have other Witco items available including conquistador chairs in new leopard upholstery, Witco end table, and Witco cat...

Antique French Neogothic Armchair ~ Desk Chair is an instant classic! Such chairs were designed for work before the days of ubiquitous casters. The low wraparound seat back provided ...

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...

Scultura in cemento colorato, vintage. rappresenta zampa di leone Stiloforo in stile Gotico. probabile copia da qualche Duomo o Battistero. risale agli anni 40. realizzata su calco i...

Pair of very large French brass candelabra in the Gothic Revival style French, early 20th Century Height 327.5cm, diameter 115cm The truly...

20th c., a pair of large brass reticulated candle pricket table lamps, with grape clusters and leaves in relief, on paw feet, unmarked. These lamps are fabulous in the best possible ...

Exquisite & rare ! This French 19th century Gothic Revival Jewelry box in carved walnut. Amazing craftsmanship and richly decorated with Gothic style carvings on all sides. Each ...

A large size, antique sculpture of Corpus Christi. The sculpture is made of unglazed porcelain, signed and numbered on the back: Sachsen. The porcelain figure of Jesus hangs on a red ‘Royal Rouge’ marble cross...

Circa 1880 brass & wood ink stand, English. Gothic Revival brass strapwork. Ebonized trim accents. Burl walnut. 10 1/2" W., 7 7/16" D., 3 5/16" H. Whitehall Antiques is a family bus...

Large Arts and Crafts Brass Jardiniere with Lions Mask Handles A large piece and a great looker The pot is round and is made in brass with a beaten decoration and lions mask hand...

Small Brass and Nickel Hall Fixture. A single bulb hangs down from central twisted stem. hammered metal ring and harp with cutouts of diamonds and clubs. Excellent for a tudor, g...

Wonderful Gothic Revival desk with an amazing presence and patina. If you like Gothic Revival furniture then we are certain you will like this quality carved Gothic desk. This good size and highly practical specimen comes with very attractive, church-window-like panels in the perfect condition cabinet doors. This intricate and predominantly solid tiger oak desk...

An exceptional Italian gothic renaissance revival style coffee table with a thick (0.75 inch ) glass top. The intricate design of this unique table is one of the best depiction of th...

Magnificent and rare Gothic Revival wine bar or sacristy cabinet. Striking Dutch design from the 1920s. Solid oak with hand-carved knights and hand-...

Elegant Gothic Revival ebonized pedestal from the 19th century. Carved Lion heads are set on 4 sides with carved paw feet at base. Ebonized carved wood. 1870s USA. Measures: top 14...

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. Publi...

Wonderfully decorative, intricate and good condition, 19th century box. Over the years we have sold a number of rare and unique boxes, but never a Gothic Revival one with as many ...

Rare size, solid bronze, Victorian Gothic box with multiple church window-like panels. Over the years we have sold a number of rare and unique boxes, but never a Gothic Revival one of this length and looking like a medieval antiquity. Let us start of by saying that this antique box truly looks much better in real life than in our photos. There are as many as 28 Gothic church-like panels depicting biblical scenes all around. They are not the most detailed, but we feel this was done in an attempt to make this antique box look truly time-worn and medieval. Anyone who knows what it took (in terms of time and skills) to create this box will be just as enthousiastic as we were when we first saw it. It would have taken the artisan(s) working for Adolph Frankau of London quite a few hours (if not days) to first design this luxurious box piece on paper. The Gothic cathedral windows would then have to be hand carved out of wood or handmade using clay or another material. Then molds would have to be made from those sculptural plaques after which they would have been cast in bronze. The castings would have to be polished and the panels would have to somehow be welded together. Then any sharp edges would have to be grinded down and all the pieces of this box would also have been patinated and the lid hinged. When you look at this box with that in mind then you will see it in a whole new perspective. Have you also noticed the beautiful Gothic leaf pattern on the lock plate? This fully marked antique box comes with a working lock and key, but we will not try to close it, because one never knows if it will open again. If it won't then you have to damage this beautiful antique to be able to open it again. This rare and long antique box actually is a copy of what special Gothic boxes would look like in the 14th, 15th and 16th century. Back in those (Medieval) days these long Gothic boxes were made for safe-keeping and transporting parchment rolls and/or ordinances. In all our years we have never seen an antique copy...

Solid oak and superb condition Gothic wall coat rack with hat rack. This unique and all handcrafted coat rack was made in the exact same way as it would have been in Medieval times. This means that no screws were used to connect all the 'joints' in this coat rack. Instead all have been secured with wooden 'pin-hole' connections and they all are as complete and in place as they were when this antique lefts the artisan's studio 100 years ago. The hand carved Gothic trefoil...

A 19th century Gothic Revival armchair , possibly by Joseph Pabst, Philadelphia, in carved walnut upholstered in Holland and Sherry turquoise "Petro...

Fine pair of elegant Gothic Revival painted oak pedestals / side tables - exceptional bench made quality with deep carving - featuring Gothic arches to all sides - stepped moldings t...

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 fixtur...

Museum quality and condition Gothic stand for saint sculptures. If only the best and the rarest is good enough for you then this architectural church pedestal...

Sconces by William Guillon Material: Patinated and polish bronze, porcelain shade Dimensions: H 80 x 45 cm Year: 2023 Resulting from bronze and porcelain, each piece is unique and hand-sculpted from scratch in wax before being cast. We offer a new piece for each order signed...

A fine pair of circa 1825 French Restauration period patinated and ormolu bronze candlesticks of good size in 'Gothic' style; the unusual design typifying the first 'Gothic' revival of the early 19th century merging classical forms with medieval motifs.

A Gothic Revival reliquary. Circa late 19th / early 20th century. Made of solid oak with fine carving. Reliquaries have been used to store relics since the Middle Ages. In sacred architecture they are often located behind the main altar in the chancel. In addition to classical, often church-like caskets, anthropomorphic, so-called "speaking" reliquaries were also made, which already inform the viewer about their contents through their own design. Mostly they were made of precious metals and decorated with rich sculptural ornaments or precious stones. One of the most famous examples of reliquaries is the Epiphany shrine of Nicholas of Verdun from the late 12th or early 13th century in Cologne Cathedral. The reliquary offered here has an architectural structure with a rectangular ground plan. The three-sided glazed box with a dormer roof rests on a plinth. A total of 8 columns of Corinthian order form the arcades which are crowned on both long sides by 3 lancets each and enclose the lancet windows...

Historistic candlesticks rich engraved and decorated two pieces in the Louis Seize style Guilded bronze.

Pulpit in oak with double flight of stairs richly carved with monsters.

Pair of antique Neo-Gothic style oak church altars.

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...

Unusual and gorgeous vintage Gothic Revival console table having rich dark walnut top and amazingly carved fretwork and arches on apron, front and sides.

Exceptional and unique, 3 feet tall, Gothic Revival wall barometer, circa 1890. This unique antique from the second half of the 19th century, in our view, is the dream of anyone with a Gothic (inspired) interior. This design could not be more Gothic and to have found a barometer of this size and with this many Gothic details, again, felt like a blessing. And even though we had to pay-up to be able to acquire it, when you find an antique that is this rare and good then you should always try to buy it. This monumental and solid nutwood antique barometer is entirely hand carved and, as you can see in our photos, the workmanship is second to none. This work of Gothic wall art is perfectly symmetrical and we love the fact that only the large church pilars are carved in a different pattern. This rare design feature, to us, shows the creative nature of its designer. We also love the many Gothic church spires on top and the way this entire 'composition' is superbly balanced. There also is small 'ledge' underneath the barometer and thermometer, possibly for displaying some small sculptures. The only downside would be that the inside of the barometer/thermometer is not squeaky clean. Maybe it is easy to open the front of the barometer, but we have no experience with that. Have you also noticed the amazingly detailed Gothic leafs at the top of both the large pilars? They too display the amazing workmanship of a seasoned craftsman. Besides the enormous height and width, what also makes this rare barometer truly impressive is its depth, because this almost gives you the idea of looking at a magnificent barometer through 3D glasses. All these top quality and impressive details together make this Gothic barometer...

Rare spherical chandelier made with the technique of stained glass in the late 19th century. Neo-Gothic style, this chandelier is decorated with colored glass cabochons and profiles of men and women...

Perfectly hand crafted and great condition antique, Gothic church, wooden altar crucifix. This beautifully handcrafted, former church crucifix for tab...

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...

19th century French Gothic cabinet, Bonnetiere is a marvelous example of the genre, with carved detailing across all three facades! Geometric pat...

Unique Gothic pedestal with large brass rivots in church window-like patterns. If only the rarest is good enough for you then this good size, architectural church pedestal...

Mahogany Neo-Gothic center table with sharp downward carvings and stem base with four extruding stands. Circa 1830.

GOTHIC REVIVAL FINELY CARVED WALNUT COURT CUPBOARD Probably France c. 1880 Item # 704RCA06Q An exquisitely carved cupboard in the Gothic Revival taste, crafted in France during the ...

This large Neo-Gothic style fireplace with hood was made at the end of the 19th century out of beautiful walnut wood. The jambs with semi-detached columns support a wide entablature. The carved decoration of the entablature is typical of the Neo-Gothic style: the wood is decorated with finials and pinnacles. The center of the entablature is decorated with a medallion that shows the letter "S". On the entablature there is a frieze of Gothic finials...

Unique and amazingly hand carved Saint Luke symbol wall sculpture. This relatively large, hand carved Gothic Revival wall plaque is another one of our re...

19th Century French Gothic Revival chair is a wonderful testament to the craftsmen of a bygone era! Hand-sculpted from old growth oak, it feature...

Dating from the Mid-19th Century, this English antique cast iron fire grate or brazier is over 170 years old. It is highly decorative, cast in iro...

Truly impressive and great workmanship, hexagonal Gothic light fixture. If you are a collector of truly amazing Gothic antiques then this large a...

A deep, large scale English solid oak antique fireplace dating from the 1880s. Re-finished, this spectacular fireplace has a rich patina throughout that looks impressive in a variety...

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...

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