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Gothic Revival Architectural Elements

Gothic Revival Style

The Gothic Revival movement (also called Victorian Gothic or Neo-Gothic) emerged in Britain in the 1740s, and reached its height in the late-19th century. Gothic Revival furniture's characteristics include such decorative flourishes as pointed arches, floral details, finials, heraldic motifs and linenfold carving.

The movement was rooted in religious and social conservatism. Gothic Revival's proponents, who included Charles Barry and A.W.N. Pugin, the architects of London’s Houses of Parliament (designed in 1840), believed that the art and architecture of the Middle Ages were authentically spiritual and inherently moral.

In the United States, the Gothic Revival movement shaped both public buildings and private houses. Numerous American schools were built in the early-19th century in a style now called Collegiate Gothic. Many builders and craftsmen were inspired by Andrew Jackson Downing’s widely read 1850 book Architecture for Country Houses, which posited that a family’s home should exemplify their values — and that the Gothic Revival style was particularly well-suited to scholars and clergymen. Furniture with detailing that mirrored that of Gothic Revival buildings appeared in the same period. Such pieces typically feature dark, intricately carved wood, and upholstery in velvet or leather.

Much like the castles or cathedrals that inspired them, Gothic Revival chairs, bookcases and beds make a bold design statement. And while you probably don’t have to cross a moat or raise a portcullis to get through your front door, a Gothic Revival piece will declare that your home is indeed your castle.

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Style: Gothic Revival
Antique French Oak Gothic Revival Panel
Located in Denton, TX
French oak hand carved Gothic revival panel. There are three available. Each panel is 1" deep by 8.5" wide by 13" high.
Category

19th Century French Antique Gothic Revival Architectural Elements

Materials

Oak

French 19th Century Gothic Revival Hand Carved, Lacquered, Parcel Giltwood Spire
Located in Firenze, IT
An impressively large and well detailed French late 19th century architectural model of a Gothic inspired transept-spire or church pinnacle. This Neo Gothic decorative finial is han...
Category

19th Century French Antique Gothic Revival Architectural Elements

Materials

Wood, Giltwood

Terracotta Dragon Roof Ridge Finial
Located in Chillerton, Isle of Wight
Terracotta Dragon Roof Ridge Finial This fearsome finial has a lovely weathered patina and it is a really great decorative pieces The Dragon is in good s...
Category

Early 2000s Gothic Revival Architectural Elements

Materials

Terracotta

Pair of English Gothic Revival Oak Railings
Located in New York, NY
Pair of English Gothic Revival style (19th Century) oak carved railing panels with open design and finial (PRICED AS Pair).
Category

19th Century British Antique Gothic Revival Architectural Elements

Materials

Oak

Pair of antique wood carved Gothic Revival architectural Columns
Located in Leesburg, VA
Pair of antique wood carved Gothic Revival architectural Columns Anonymous 19th century; Belgium or Netherlands Wood Approximate size: 41.75 (h) x 11.75 (w) x 11.75 (d) in. An exceptional pair of tall and intricate hand carved vintage wooden 19th century church columns...
Category

Late 19th Century Belgian Antique Gothic Revival Architectural Elements

Materials

Wood

19thC Gothic Revival Ecclesiastical Chapel Antique Architectural Prie Dieu Niche
Located in Sherborne, Dorset
A wonderful Victorian mahogany carved parcel-gilt Gothic Revival Church canopy accompanied by a matching parcel-gilt pier / pedestal table on a turned column with a shaped marble top...
Category

Mid-19th Century British Antique Gothic Revival Architectural Elements

Materials

Marble

Weathered Wall Bracket, carved with Shell Decoration This is a well weathered p
Located in Chillerton, Isle of Wight
Weathered Wall Bracket, carved with Shell Decoration This is a well weathered piece, the bracket is made in hard plaster with a very worn gilt finish It is in generally good conditi...
Category

19th Century Antique Gothic Revival Architectural Elements

Materials

Plaster

Winged Angel, Weathered Wall Bracket
Located in Chillerton, Isle of Wight
Winged Angel, Weathered Wall Bracket This is a well weathered piece, the bracket is made in hard plaster with a very worn gilt finish It is in generally good condition with a weathe...
Category

19th Century Antique Gothic Revival Architectural Elements

Materials

Plaster

Set of Four Monumental Neo-Gothic Confessionals in Oak
Located in SAINT-OUEN-SUR-SEINE, FR
A group of four antique confessionals in Neo-Gothic style, made of oak.
Category

19th Century Belgian Antique Gothic Revival Architectural Elements

Materials

Wood, Oak

Selection of eight restored 19th C Neo-Gothic Stained-Glass Windows
Located in Leuven , BE
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...
Category

19th Century Belgian Antique Gothic Revival Architectural Elements

Materials

Art Glass, Stained Glass

Pair of Old Oak Church Altars in the Neo-Gothic Style
Located in SAINT-OUEN-SUR-SEINE, FR
Pair of antique Neo-Gothic style oak church altars.
Category

19th Century Belgian Antique Gothic Revival Architectural Elements

Materials

Oak

Gothic Revival Style Antique Wooden Double Leaf Door from Spain
Located in Vulpellac, Girona
Gothic Revival Style Antique Wooden Double Leaf Door from Spain. Hand carved decorations in gothic revival style with Iron door handles in Seahorse sh...
Category

Early 19th Century Spanish Antique Gothic Revival Architectural Elements

Materials

Wood

Rare Hand Carved Stone Wellhead Cistern Basin Antique Fountain Focal Point LA CA
Located in West Hollywood, CA
Rare hand carved stone Wellhead cistern Basin Antique Fountain Focal point LA CA. 19th Century Neogothic Water Wellhead hand carved stone planter Basin ...
Category

19th Century French Antique Gothic Revival Architectural Elements

Materials

Stone, Limestone, Wrought Iron, Iron

19th Century English Victorian Gothic Revival Rainwater Hopper
Located in Forney, TX
An impressive English Victorian Gothic Revival cast iron rainwater hopper, the architectural salvaged building element originating from a late 19th ce...
Category

19th Century Antique Gothic Revival Architectural Elements

Materials

Iron

Gothic Revival Cast Iron Gate with Both Side Railings and Geometric Decoration
Located in London, GB
A Gothic Revival cast iron gate with both side railings in the style of Dr C Dresser with all-over Geometric decoration. Retaining the oak hand rails and the original pair of wall si...
Category

Late 19th Century English Antique Gothic Revival Architectural Elements

Materials

Iron

Bronze Building Directory NYC Woolworth Building Gothic Revival
Located in New York, NY
Antique large double sided bronze building directory with Gothic Revival details. This directory is from the historic NYC Woolworth building which is an iconic landmark which first p...
Category

Early 20th Century American Gothic Revival Architectural Elements

Materials

Bronze

Pair of Antique Heavily-Carved Neo-Gothic Carved Oak and Brass Sconces
Located in Houston, TX
Hand-carved oak trefoil and quatrefoil backplates with antique brass 3 arm candle holders. Circa 1890s. Oak back plates are 3/4" deep. Neo-Gothic, Belgian. Newly wired for the US wi...
Category

19th Century Belgian Antique Gothic Revival Architectural Elements

Materials

Brass

Pair of Gothic Revival Cast Iron Hinges
Located in London, GB
A pair of Gothic Revival cast iron hinges, circa 1875 They are painted green one side.
Category

1870s Great Britain (UK) Antique Gothic Revival Architectural Elements

Materials

Iron

4 English Gothic Revival Style Painted Steeples
Located in New York, NY
4 English Gothic Revival style (19th Century) painted architectural castle steeples. (PRICED EACH).
Category

19th Century British Antique Gothic Revival Architectural Elements

Materials

Wood

Pair Large Gothic Revival Wall Brackets or Corbels w. Beautifully Roses & Lilies
Located in Lisse, NL
These stunning display brackets or consoles are unique in size and design. We have sold our share of wall brackets over the years, but this recently ...
Category

Early 20th Century Dutch Gothic Revival Architectural Elements

Materials

Wood, Oak

Good Pair of Gothic Revival Cast Iron Hinges
Located in London, GB
A good pair of Gothic Revival cast iron hinges. They have been bead blasted to remove all old paint and rust and specially painted with powder paint formu...
Category

1870s Great Britain (UK) Antique Gothic Revival Architectural Elements

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Iron

Pair of Handcrafted Gothic Revival Copper Hinges with Thistle Decoration
Located in London, GB
A pair of handcrafted solid copper Gothic Revival hinges with thistle and hand chased decoration.
Category

1870s Great Britain (UK) Antique Gothic Revival Architectural Elements

Materials

Copper

A.W.N. Pugin, A pair of Early Gothic Revival Cast Iron Garden Bench Ends
Located in London, GB
A rare pair of early Gothic Revival cast iron garden bench ends designed by A.W.N. Pugin with foliage details which is slightly obscured at the moment due...
Category

1850s Great Britain (UK) Antique Gothic Revival Architectural Elements

Materials

Iron

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

19th Century British Antique Gothic Revival Architectural Elements

Materials

Gesso, Wood, Mirror

Architectural Finials
Located in Washington, DC
These are very nice pair of architectural finials made of resin. These were made for theater work. Very decorative items could be used in doors ...
Category

Mid-20th Century French Gothic Revival Architectural Elements

Materials

Resin

Fine Gothic Revival Statuary Marble Fireplace Mantel
Located in London, GB
A fine quality Gothic Revival fireplace carved in statuary marble. The spandrels with finely carved holly and berries. Octagonal suspended capitals under moulded shelf. The centre wi...
Category

Mid-19th Century English Antique Gothic Revival Architectural Elements

Materials

Statuary Marble

Large Shaped Cast Iron Firegrate
Located in London, GB
A polished cast iron firebasket with bowl front, shaped front bars and shaped feet below. Substantial burning area and would be well suited to burning large logs and coals, English, ...
Category

Early 20th Century British Gothic Revival Architectural Elements

Materials

Iron

18th Century Pair of Portal Ornaments
Located in Casteren, NL
Pair of angel ornaments. Each angels hold a shield which can be engraved. Beautiful pair made in France, circa 1800.
Category

Early 19th Century French Antique Gothic Revival Architectural Elements

Materials

Stone

Panelling from The Supreme High Court, London opposite The Houses Of Parliament
Located in London, GB
Two pieces of carved oak panelling from The Supreme High Court in London. England. Note : This listing is for the two smaller pieces of oak panelli...
Category

20th Century British Gothic Revival Architectural Elements

Materials

Oak

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Pair of Carved Wood Squared Pedestal Columns
Located in Atlanta, GA
A pair of vintage American carved wood pedestal columns. This pair of bleached wood columns feature squared bodies with a single raised panel at each side, stacked molding just benea...
Category

20th Century American Gothic Revival Architectural Elements

Materials

Wood

Pair of Carved Wood Squared Pedestal Columns
Pair of Carved Wood Squared Pedestal Columns
H 56.25 in W 18.5 in D 18.5 in
French 18th Century Gothic Style Architectural Fragment
Located in Atlanta, GA
A wonderful French 18th century Gothic style architectural fragment - over door pediment. Expertly crafted in cast iron and retaining traces of the...
Category

Late 18th Century French Antique Gothic Revival Architectural Elements

Materials

Iron

Pair of Columns in Carved Wood, 17th Century
Located in Madrid, ES
Each one shows a lower part decorated in relief with vases joined by ribbons and a grooved shaft divided into two areas and has a composite capital. Although the motifs are of classi...
Category

17th Century European Antique Gothic Revival Architectural Elements

Materials

Wood

Antique Skull & Bones Cast Architectural Terracotta Fragment
Located in Forney, TX
Antique Skull and Crossbones cast architectural salvaged decorative building element, most likely frieze panel fragment. The sculptural Italian Renaissan...
Category

19th Century Antique Gothic Revival Architectural Elements

Materials

Terracotta

Gothic Revival Cast Iron Gate with Both Side Railings and Geometric Decoration
Located in London, GB
A Gothic Revival cast iron gate with both side railings in the style of Dr C Dresser with all-over Geometric decoration. Retaining the oak hand rails and the original pair of wall si...
Category

Late 19th Century English Antique Gothic Revival Architectural Elements

Materials

Iron

Antique Salvaged Architectural Wood Columns - a Pair
Located in Brooklyn, NY
A pair of free standing antique salvaged architectural columns. Greco-Roman doric style. Square silhouette. Original paint has been removed to show a r...
Category

Early 20th Century North American Gothic Revival Architectural Elements

Materials

Wood

"Kashmir" Tile by Dorothy Liebes
By Dorothy Liebes
Located in Los Angeles, CA
In 1957 the Pomona Tile Manufacturing Company hired five designers—Saul Bass, Paul Laszlo, Dorothy Liebes, Paul McCobb, and Millard Sheets—to design tiles ...
Category

1950s American Vintage Gothic Revival Architectural Elements

Materials

Ceramic

"Kashmir" Tile by Dorothy Liebes
"Kashmir" Tile by Dorothy Liebes
H 0.5 in W 6 in D 6 in
Large Painted Antique Tuscan Cartouche Panel, 18th Century
Located in Dallas, TX
This large cartouche panel was carved from wood and hand-painted with a central coat of arms in Italy during the 1700’s. Inspired by a 16th century French style shield, the escutcheo...
Category

18th Century Italian Antique Gothic Revival Architectural Elements

Materials

Wood

Previously Available Items
19th Century French Neo Gothic Carved Giltwood Ornament
Located in Buisson, FR
Wonderful gilt-wood ornament in Neo Gothic style, France, circa 1850. Weathered. Measurement here below includes the wooden base.
Category

19th Century French Antique Gothic Revival Architectural Elements

Materials

Wood

18th Century Pair of Carved Marble Gothic Decorative Architectural Tablets
Located in Lowestoft, GB
Pair of 18th century carved marble tablets with organic drapes and roundels with a nod to the gothic revival period, previously part of larger architectu...
Category

Late 18th Century English Antique Gothic Revival Architectural Elements

Materials

Marble

18th Century Carved Marble Gothic Decorative Architectural Edging Egg & Dart
Located in Lowestoft, GB
Two large sections of 18th century carved marble edging with a typical egg and dart motif with a nod to the gothic revival, previously part of larger architectural feature, possibly ...
Category

Late 18th Century English Antique Gothic Revival Architectural Elements

Materials

Marble

Late 19th Century Gothic Revival Carved Oak Staircase
Located in Dusseldorf, DE
Former stairway to a pulpit. Gothic Revival, around 1890. Solidly made of oak wood. Railing with carving in the form of blind tracery (two-lane tracery windows) alternating wit...
Category

Late 19th Century European Antique Gothic Revival Architectural Elements

Materials

Oak

19th Century Wooden Painted Gothic Architectural Altar
Located in Essex, MA
American painted Gothic Revival Altar. Carved and painted Gothic Architectural Treasure. Removed from A New Hampshire Church. Breaks down and screws together as shown in photos. Simple reconnecting. Re-use for a Strawberry Hill...
Category

Late 19th Century American Antique Gothic Revival Architectural Elements

Materials

Wood

Antique & Rare Hand Carved Oak Gothic Revival Church or Monastery Window Frame
Located in Lisse, NL
Top quality carved and large size Gothic window frame decoration. If you are looking for rare and stylish antiques in the Gothic style then thi...
Category

Late 19th Century European Antique Gothic Revival Architectural Elements

Materials

Oak

Antique Architectural RJ Horner School Carved Oak Gargoyle Circa 1890
Located in Big Flats, NY
An antique architectural figure in the manner of RJ Horner offers carved wood full figure gargoyle having exaggerated paw feet, c1890 Measures - 15.25'' H...
Category

Late 19th Century Antique Gothic Revival Architectural Elements

Materials

Oak

19th Century Gothic Counter Base, Island
Located in Dallas, TX
19th century Gothic counter base ~ Island was crafted from solid oak, and features an open design that will lend an airy look to your installation! Perf...
Category

Mid-19th Century French Antique Gothic Revival Architectural Elements

Materials

Oak

19th Century Gothic Counter Base, Island
19th Century Gothic Counter Base, Island
H 35 in W 47.5 in D 47.5 in
Set of Gothic Revival Architectural Arcade Elements
Located in Dusseldorf, DE
A set consisting of 4 arcade building elements in neo-Gothic style. Solidly made of pitch pine wood. The 4 elements can be put together to form 3 arcades (arches) once you mount t...
Category

21st Century and Contemporary European Gothic Revival Architectural Elements

Materials

Pine

Pair of 19th Century Limestone Gothic Steeples Architectural Salvage, Garden
Located in St. Louis, MO
Pair of antique French carved stone Cathedral steeple spires from the Neo-Gothic period. Architectural salvage from the exterior of churches in France, these antique French spires ca...
Category

Late 18th Century French Antique Gothic Revival Architectural Elements

Materials

Limestone

Antique Hand Carved & Painted Gothic Tower Model For Wall Hanging or Table Piece
Located in Lisse, NL
Architectural model-like Gothic church tower, 19th century. This beautiful and entirely handcrafted Gothic tower model is another one of our recent great finds. This antique dates...
Category

19th Century French Antique Gothic Revival Architectural Elements

Materials

Wood

19th Century Gothic Pair Stained Glass Windows of Monumental Size
Located in Savannah, GA
This extra tall pair of Gothic stained glass windows measure ten feet five and one half inches and came out of a southern church near Colu...
Category

Late 19th Century American Antique Gothic Revival Architectural Elements

Materials

Lead

Gothic Revival architectural elements for sale on 1stDibs.

Find a broad range of unique Gothic Revival architectural elements for sale on 1stDibs. Many of these items were first offered in the 21st Century and Contemporary, but contemporary artisans have continued to produce works inspired by this style. If you’re looking to add vintage architectural elements created in this style to your space, the works available on 1stDibs include building and garden elements, wall decorations, more furniture and collectibles and other home furnishings, frequently crafted with wood, metal and other materials. If you’re shopping for used Gothic Revival architectural elements made in a specific country, there are Europe, United Kingdom, and Belgium pieces for sale on 1stDibs. While there are many designers and brands associated with original architectural elements, popular names associated with this style include Augustus Welby Northmore Pugin, and Henry Hobson Richardson. It’s true that these talented designers have at times inspired knockoffs, but our experienced specialists have partnered with only top vetted sellers to offer authentic pieces that come with a buyer protection guarantee. Prices for architectural elements differ depending upon multiple factors, including designer, materials, construction methods, condition and provenance. On 1stDibs, the price for these items starts at $550 and tops out at $125,000 while the average work can sell for $3,332.

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