Gothic Furniture

Stunning and practical size, multi purpose Gothic chest / box from a monastery. This here Gothic chest is one of the smallest yet most stylish we ever had the pleasure of offering. ...

Belgium / 17th century / sculpted panel / oak / Gothic / Rustic / Antique A rare Belgian 17th century grotesque sculpted panel. Hand-carved with floral and foliage decorations with ...

A rare and beautifully preserved 15th-century German crossbow, created as a true weapon of war or defense,.This piece is a remarkable survival from the Gothic period, with all of its...

Transport yourself back to the sleek and sophisticated 1970s with this exquisite arch gothic armoire cabinet with interior mirror. The ultra rare cabinet exudes an air of luxury and ...

19th Century French Gothic Credenza is a remarkable work of the cabinet maker's art, featuring tailored architecture melded with the timeless intricacies of the style that dates back...

A rare 1930s Finnish wrought-iron floor lamp by Taidetakomo Hakkarainen. This expressive piece balances rustic craftsmanship with elegant decorative detailing: hand-forged scrollwork...

This exceptional trunk was made in England, circa 1800. The antique coffer has an interior which has been lined with metal and would make a fantastic storage or blanket chest, as wel...

France / 16th century / Chest / oak / Gothic A remarkable French Gothic oak chest dating from the 16th century, showcasing intricate hand-carved detailing throughout its façade. The...

POLYCHROME CARVED WOOD VIRGIN AND CHILD FROM THE 15TH CENTURY   ORIGIN: SOUTH GERMANY, SWABIA, NUREMBERG REGION PERIOD: 15th CENTURY   Height: 94,6cm Width : 28 cm Depth : 18 cm   Lime wood Original Polychromy Good state of conservation     From 1430 onwards, sculpture underwent a profound stylistic renewal which continued until 1530, the so-called late Gothic period. In the Germanic countries, original sculptures flourished in an expressive and sensitive vein.
This renewal was inspired by the art of Nicholas of Leiden, who was active in Strasbourg in the 1460's. His style broke with the refined and delicate art of the international Gothic style in force throughout Europe around 1400. The figures became more authentic and realistic. The bodies became denser. Clothes are animated by deep, broken folds, the fabrics are heavy and have a great decorative value. In addition, the polychromy is intended to be illusionistic. The painting makes it possible to restore the texture of the materials, the richness of the textiles and the natural skin tone of the characters.   The dissemination of images through engraving and the great mobility of the artists led to the success of this style, which conquered the Upper Rhine, Swabian, Tyrolean and Franconian regions, contributing to the formation of a common stylistic identity in these regions. The economic boom in the flourishing German cities was conducive to the development of original production. Attracted by this prosperity, numerous workshops were set up in order to meet the orders of religious communities, the Church and the laity, including a clientele of middle-class rockers.      This precious Virgin and Child is depicted standing on a crescent moon, her head encircled by a crown of tall flowers. Her long wavy hair spreads over her shoulders, framing her beautiful oval face. Under fine eyebrows drawn with a brushstroke, her almond-shaped, slightly drooping eyes look at the Child with infinite softness. She is dressed in a long red dress with a rounded neckline, belted under the chest. The heavy fabric of her dress spreads out in broken folds at her feet. On her shoulders she wears a golden cloak. The drapery has deep folds. She holds out her right hand while she holds the Christ Child with her left.   Christ, with his well-defined hair, is naked. His cheeks are highlighted with red, he holds an apple in his left hand and with the other hand makes a sign of blessing towards the faithful.   Virgins with Child on a crescent moon were very popular in the second half of the 15th century, especially as the central subject of altarpieces in southern Germany and Austria. The crescent moon on which Mary is standing is reminiscent of the Woman of the Apocalypse. Often equated with the Virgin Mary.    This episode is taken from the Book of Revelation (12:1-6)   1 Then a great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head. ; 2 She was pregnant, and she cried out because she was in labor, in pain from giving birth. ; 3 Then another sign appeared in heaven: it was a great fiery red dragon, with seven heads and ten horns, and seven royal crowns on his heads. ; 4 His tail swept down a third of heaven's stars and threw them to the earth. The dragon stood in front of the woman who was about to give birth so that when she gave birth, he might devour her child. ; 5 She gave birth to a son, a male child who is to rule all the nations with an iron rod. Her child was snatched up to God and his throne. ; 6 Then the woman fled into the desert, where God has prepared a place for her. There she will be taken care of for one thousand two hundred sixty days.   Some theologians see in this woman a reference to the Virgin Mary and in the child, Jesus.    
This remarkable work is a very fine example of sculpture from Swabian workshops in the last decades of the 15th century. It presents all the characteristic stylistic elements: a highly girdled silhouette, an abundant drapery with angular folds, but also a great physical presence accentuated by the polychromy that restores the anatomical details. This group is made of a wooden log. The deep folds of the drapery highlight the movement of the Virgin holding the child.       Bibliography :   Sophie Guillot de Suduiraut, Dévotion et Séduction, Sculptures souabes des musées de France, vers 1460-1530, Paris musée du Louvre-Éditions somogy, 2015   “Revelation 12 -   Common English Bible...

19th Century French Gothic Hall Bench was hand-crafted from solid old-growth oak, and features a tailored classical architecture with design embellishments that are definitive of the...

Gothic style carved oak, king size bed.

Beautiful and rare Gothic Revival treasure box with bronze handle. If you are a collector of antique boxes and/or if you are looking for an extraordinary jewelry box to grace your credenza or side table then this unique and top quality made specimen in the Gothic style could be perfect. Gothic Revival boxes are very hard to find and we have never seen one with such prodigious carvings on all sides. The unique and cat-like dragon gargoyles (with fangs) that look like they are carrying this casket, are just some of the stunningly carved and detailed sculptures that make this antique rarity even more artistic and impressive. Another great feature are the peacock sculptures. In Christianity the peacock is the symbol of purity. Christians believe that once someone has passed their soul rises and goes to heaven. This is why in earlier times Christians would spread the feathers of a peacock over the deceased since it symbolized a pure soul that was immune to corruption. The peacock also represents immortality, resurrection, and the spiritual teachings of Jesus Christ and the Christian church. Have you also noticed the top quality details on both ends of the bronze handle on top? The quality of that ornamental work is of the absolute highest standard also. There are many more incredibly beautiful, hand carved details and together they show that no expense was spared to create one of the most amazing Gothic caskets...

This French fireproof strongbox, crafted circa 1880 by Bauche in the Marne region, showcases the period’s finest industrial security design. Constructed in heavy cast iron and weighi...

A towering pair of 19th century French brass altar candlesticks from a cathedral or church. The center of each bobeche is fitted with a spike, surrounded by a pierced brass crown of ...

GOTHIC CHEST WITH LINENFOLD PANELS   ORIGIN : ILE DE FRANCE PERIOD : CIRCA 1500   Height : 78 cm Length : 167 cm Depth : 61 cm           Walnut   Simple in the structure, this chest ...

This Neo-Gothic marble mantel was reclaimed from a NYC townhouse in the Upper West Side near Central Park. This striking mantel draws clear inspiration f...

Gothic wrought iron candelabra style floor lamp.

In true Gothic fashion, these lamps illustrate the style of light common to many cathedrals of the time yet devoid of any religious symbols. Lights are of grand scale consisting of s...

This impressive pair of antique chandeliers was crafted in France circa 1880. Forged from substantial wrought iron, each eight-light fixture displays bold Gothic character with elega...

A mid century French attributed sofa. Angular gothic silhouette. Iron base frame. Cream vinyl upholstery with brass brad detail. Previous owner added bolts with caps to adjust feet h...

We present this beautiful and rare small trunk made in the early 20th century. Made entirely of iron with brass decorations, this trunk has a Gothic-inspired design. A unique decora...

English Gothic Revival style (19th Cent) oak high back carved and filigree Bishops throne chair with griffin finials.  

This 16th-century French Gothic fireback features an unknown coat of arms. The fireback is made of cast iron and has a brown patina. Upon request, it can be made black/pewter colored...

A Rare and Monumental Italian Carved Carrara Marble Model of a Cathedral, Rome, 19th century, circa 1840. Possibly a representation of Cathedral of Santa Maria del Fiore in Florence Italy. The Italian Renaissance is renowned for its magnificent works of art and architecture, which are admired to this day for their grandeur and intricate details. Among the most impressive examples of this era are the rare and monumental carved Carrara marble models of cathedrals...

An exceptionally rare and important 15th century Gothic iron strongbox, weighing approximately 80 kg. This large strongbox retains its original mechanical locking system, which remai...

This large chest stands on high legs prolonging the lateral jambs. Presenting a sober and severe appearance the chest still belongs to the Medieval tradition. The piece is made from very high quality Hungarian wood. The jambs are joined to the facade and the lateral sides thanks to pegged mortise and tenon securing a great stability and squareness between each parts. The upper lid is made of two joined parts and so is the facade. The ironwork is present all over the surface of the chest and brings both an additional stability to the construction as well as a rich decor. The lid is secured with hinges. Hinges also run all over the chest in horizontal and vertical lines, ending in a floral motif. The hasp lock is also very ornamental. Those chests always present important proportions especially when they are made early in the period. This model was very popular in Germany and stayed in vogue until the 16th century. However the feet Gothic decor...

Late 19th Century Wooden Door with Gothic Style Arch Detail

Large solid oak chest from the 16th century Gothic period Very pretty French, Norman work. Decorated with Gothic motifs on 5 panels on the facade. Note reassembly in the 18th and 19...

Pair of English Gothic Architectural Valences with Baroque Carvings Unsigned 17thC Measures - 12.75"H x 62.5"W x 7.25"D This pair of English Gothic architectural valences dates back ...

An extraordinary and museum-worthy 15th century Gothic Corpus Christi, masterfully hand-carved in wood with exceptional anatomical detail and partially polychromed in white and royal...

An exquisite, period pair of antique Cornelius and Company gilt bronze three arm candlesticks, Philadelphia, circa 1840, having been electrified ...

Pair of gothic mahogany tabourets or end tables circa 1910, with superbly carved arches to each panel. Believed to be of English origin. Older restoration, holds up nicely. The tops ...

Miniature "Iron Maiden" in blackened cast metal attached to its original round wood base. The front doors are pin-hinged and open to reveal pointed spikes. At base of doors is printe...

Rustic Antique Double Pedestal Banquet Table was literally designed to last for centuries! Utilizing thick planks and beams of solid old-growth elm wood, the artisans who crafted it...

Antique crucifix with stunning hand carved details and an amazing patina. This remarkable and good size crucifix with a sculpture of a suffering Christ on the cross is another one...

Dutch Gothic style (19th Century) oak and gilt filigree carved 4 section steeple (Provenance: a Dutch church 108 Utrechtsestraat St., Amsterdam).

Very fine English early 19th century mahogany architectural model of a church, the multiple steeples flanking a faux carved slate shingled room, wh...

Gothic Country Solid Oak Welsh Dresser This is a late Victorian piece it is constructed in solid Oak including the panelled back boards, the dresser top has a classic styled top with...

An exceptional and rare Austrian longsword, designed as a two-handed weapon with a classic cruciform hilt and straight, double-edged blade. This distinguished form bridges the morpho...

SPANISH CHEST WITH ARCADE DESIGN ORIGIN: SPAIN PERIOD: LATE 15TH – EARLY 16TH CENTURY DIMENSIONS: Height: 61 cm
 Length: 135 cm
 Depth: 48 cm Chestnut wood 
Good condition This H...

English Renaissance (Tudor-16th Century) oak carved linen fold design paneled room with a mantle, overmantle carving and a Pair of spindle design open doo...

This rare and beautiful ceiling lamp is a true gem for anyone looking to create the perfect ambiance. Crafted in the 1920s, this unique Gothic Revival pendant showcases a geometric ...

A Victorian Green Man Carved Oak Bureau The bureau is superbly carved with acanthus leaves and faces of the green man from solid oak, it has a carved fall front, one long drawer an...

Description: This exquisite bleached oak chest blanket, crafted in France during the 1940s, is a stunning example of Gothic-inspired design. The chest combines the timeless elegance...

exceptional late 15th century/early 16th century carved oak Gothic period chest from Northern of France. Very fine example of a flamboyant Gothic style chest with a superb carved f...

Provenance : In the same private collection for several generations, Burgundy. The canonical Gospels describe briefly the episode of the Nativity. It comprises three parts : • The Preludes : the Journey to Bethlehem, the Census • The Nativity • The Announce to the Shepherds and the Adoration of the Magi Only the Gospel according to Matthew (2, 1-12) speaks about the Adoration of the Magi. Staying vague about their number it does say they brought the newborn gold, incense and myrrh. The apocryphals, the fathers of the Church and many other authors have filled in the gaps of the evangelic tale. The sobriety and symbolic of the story have been a huge inspiration to artists. Although one of the oldest depictions of the Adoration of the Magi dates from the 2nd century the theme became very popular in Christian art during the late 14th century. One of the reasons explaining this success is that it celebrates both the Virgin and Christ at the same time. This important walnut panel is carved in a strong relief and depicts the different steps of the story of Jesus’ birth. On the left, the donkey and ox that have accompanied Mary and Joseph from Bethlehem are depicted behind a trough. On the thatch roof appears the star that would guide the magi to the place of birth of Jesus. Mary is wearing a veil and is seating on a bed. She holds her baby at arm’s length to present him to the magi. Saint Joseph is by her side. The old man is holding a cane in his left hand while from the right hand he seems to uncover himself to greet the visitors. A woman assists to the scene. In front of the holy family the three magi stand behind one another to pay their homage to the newborn. The first magi has a pointed beard. He is already kneeling out of deference and has placed his crown to his feet. He gives the baby a hanap filled with gold coins. This is Melchior as the legend describes him with white hair and a long beard. Caspar, the second magi bears a cup of incense. He is looking at the third magi and with his right hand he points to the star that has guided them there. He has a short beard and wears crakow shoes, breeches and a wide sleeved doublet. Finally Balthazar, the elegant last magi proceeds proudly towards the holy family with his one hand on the saber’s hilt and the other holding a cup. He brings the divine child the myrrh. He probably just dismounted as the horse can be seen behind him. The scene is set in a very detailed and narrative decor. In the right part of the panel the shepherd receive the announce of Jesus’ birth. An angel comes down from heaven with a scroll bearing the good news in his hands. The herding dog sleeps peacefully while sheeps graze. At the top of the cliff we notice the gilded sheeps enclosure. The panel’s moulded frame is carved with a foliated decor. In it’s centre appears a coat-of-arms. It is the alliance of the three magi’s arms. Indeed as it was common for legendary figures the three of them received imaginaries coat-of-arms. Thus, on a field of azure stands a star for Melchior, a crescent for Caspar and a pennon for Balthazar. This high-relief panel is undeniably the work of a very skilled and imaginative artist. This key moment in the New Testament is transposed to a contemporary environment thanks to the figures’ clothing and the rural daily life scene. This way the universal dimension of the episode is highlighted allowing a better understanding for the contemporaries. The sculptor has represented the episodes of the Adoration of the Magi and the Announce to the Shepherd with great talent and numerous details giving life to a picturesque and narrative scene. The important traces of polychromy give those already very animated scenes a stronger pictorial power and a rich dynamism. Because of the picturesque and familiar realism so dear to the artists of the late Medieval era, of the didactic function of this type of panel as well as the quality of the sculpture this piece is an astounding example of Burgundian art of the 15th century. Literature Louis Réau, Iconographie de l’Art chrétien...

This unusual Spanish 1940s medieval style iron chandelier features a sturdy frame with eight torchiere arms suspended from an ornate hanger. The fixture has been recently wired to ac...

19th Century French Gothic Petite Trunk ~ Blanket Chest was purpose-built for a cozy niche, and its size makes it very versatile to use in any capacity! ...

A scarce antique ecclesiastical architectural hand carved and painted wooden church - cathederal tabernacle door. 18th century or earlier, early Medieval European Romanesque Gothic style, facade with elaborate arched header atop partial quartfoil, hinged tabernacle door panel which would have opened to important religious niche...

A towering pair of 18th century French forged, wrought iron andiron-chenets to watch over the hearth. They include a small basket at the top for warming, the rim impressed with a geo...

Medieval Knights Chess Set - Metal Brass & Silver Nickel Plated Crusaders Game.Made in Florence, Italy, this stunning chess set features intricately cast metal pieces in antiqued sil...

Keep your jewelry and important documents locked up in this elegant, antique safe from the Champagne-Ardenne region of France. Crafted circa 1880, and built in cast iron, this heavy ...

A stately and architectural set of six Belgian oak dining chairs from the 1960s, crafted from stripped wood with angular frames and high backs. The tall, panel-style backrests featur...

Set of twelve oak dining chairs crafted in the Gothic style, featuring carved leaves, finials, and turned legs. The dark stained finish and old upholstery reflect age and use. Restor...

Very beathiful set of Gothic revival Wall candle sconces . Hand forced ,Gilded Brass .very nice ornate . super rare to find a set of 4 . Comes with the hand made brackets . All in...

Pair of 19th-century French Gothic-style 5-light Candelabra - Private Collection Domenico Rugiano

HIGHLY CARVED Antique French RENAISSANCE REVIVAL Marble Top Highly Carved Walnut Console, Sofa Table, Sideboard or Server~~c. 1890s Original "rouge" marble top, two drawers with key...

Illuminate your dining room, library, or entryway with this striking antique French chandelier. Crafted in France circa 1870, the fixture is forged from hand-wrought iron and designe...

A Gothic Oak Barley Twist Bergere Club Fender This is a very rare piece of country House Furniture, the fender has a high flat cane seat at either side and the and the seats are j...

While the birth of Christ is briefly told in the Gospel of Luke (2, 7) it is in the apocryphal texts that we find most of the elements and details that have then inspired artists. As of the 14th century and even more of the 15th century the subject of the Adoration of the Child replaces in Western art the scene of the Birth, much favoured in Byzantine art. Instead of being depicted lying with the new-born swathed in the manger, the Virgin is now kneeling, her hands joined in prayer in front of the naked child. This change was probably hastened by the popularity of the visions of Saint Bridget of Sweden to whom the Virgin allegedly appeared to show how she had given birth to Jesus (Visions, VII, chap. 21). Sheltered by a thatch-roofed structure the Virgin is kneeling in front of the Child Jesus. She wears a magnificent red dress under a large gold cloak. Her curled blond hair is partially veiled. The newborn is lying on a straw mat. Joseph is depicted with a parted beard and stands opposite from the Virgin. He wears a tunic and a coat with a purse hanging from the belt. His costume reminds us of the long journey him and Mary have accomplished to reach Bethlehem. Two other women are present. One is looking through the stable’s window to observe the Holy Family while another one kneels in prayer in front of the divine child. The rich costume of the lady might indicate she is a donator. However they could also both represent the women who took part in the birth of Christ, Zelemi and Salome. Salome, incredulous did not believe in the virginal conception of Mary and she is represented far from the scene. The artist has depicted her with an expression of doubt on her face. Zelemi, on the contrary, is a believer. She is rewarded by a place of honour at the heart of the scene, close to Mary. To the left the donkey and ox that have accompanied Mary and Joseph to Bethlehem observe quietly the scene. On the foreground two angels hold a scroll reading an excerpt from the Gloria : “/Gloria/ in excelsis /Deo/.” One of the angels wears a blue cape while the other’s is red Those two colours are very significant as during Middle-Ages blue symbolises hope and red charity. Together they express the hope in redemption thanks to the advent of Christ and his sacrifice to come. Above the main scene, up a cliff, a small shepherd lets his herd of sheep graze amidst the trees. He is framed by two walled cities. This wood carving is the work of a very skilled and inventive artist. The piece bears witness to his exceptional talent. The realism of the scene is emphasised by the amount of details depicted. The refinement of the carving itself is highlighted by the well preserved polychromy. This key moment of the New Testament is set in a contemporary context thanks to the clothes of the characters and the scenes of rural life. The universal dimension of the scene is intensified while allowing contemporary viewers to grasp its meaning more easily. This care for details, the picturesque realism as well as the extraordinary rendition of the cloths suggest it was made by a Flemish artist during the late 15th century. This relief can be compared with the panel of the Nativity from the Saint-Vaast altarpiece made by Jacques Daret between 1433 and 1435, today in Madrid’s Thyssen-Bronemisza Museum. Literature Louis Réau, Iconographie de l’Art chrétien...