Belgian Daybeds

Belgium / 1930s / gym mat / brown thick cow leather / vintage / industrial An authentic 1930s industrial brown cow leather gym mat made in Belgium. This original vintage piece made ...

Belgium / 1930s / gym mat / brown thick cow leather / vintage / industrial An authentic 1930s industrial brown cow leather gym mat made in Belgium. This original vintage piece made ...

Belgium / 1930s / gym mat / brown thick cow leather / vintage / industrial A 1930s industrial brown cow leather gym mat made in Belgium. An original vintage piece made in premium br...

Belgium / 1930s / gym mat / brown thick cow leather / vintage / industrial Step back in time to the 1930s with this nice patinated leather gym mat crafted in Belgium. Made from pr...

Leather gym mat ca.1930 Belgium. Made from thick but soft leather. With a very nice patina.

Leather gym mat circa 1930 Belgium. Made from thick but soft leather. With a very nice patina.

Most Unusual Tubular chrome and Leather Bauhaus chaise lounge / daybed, amazing design, two large attached Bolster Pillows (arm and back res...

This nice daybed was designed by Jos De Mey for Van Den Berghe Pauvers in 1963. Due its high legs and design, this daybed has a timeless and playful look. For the upholstery I did ch...

Ric Deforche for Gervan, chaise lounge model 'Lord,' patinated suede, steel, Belgium, 1970. Fantastic chaise lounge by Ric Deforche in steel and light brown suede leather. This design dates from the 1970s. The segmented seating...

Presenting a glorious and exceptionally rare 19th century Belgian golden oak daybed. Mid-19th century, circa 1860 and made of golden oak, this daybed is exceptional ! Full size with the most fabulous Lions Heads on the end pillars and mirrors in the pillars and center of the front side panel in a geometric diamond shape. Made in Belgium and was bought in Belgium and brought to the US in the 1980s. Probably made in or near Liege in Belgium where most craved Belgian furniture was made in the 18th and 19th centuries. In the 18th century the Liège style woodcarving was the most renowned in the world. We have never seen another one quite like it !! Condition is very good for its age. Kindly note: that it is only the bed frame that is being sold and not the mattress and bed linens, seen in the photos, which are for showroom display purposes only. Provenance: From a Wealthy Dallas Estate. Liège was the center of a wealthy bishopric situated between Flanders and Germany. Although part of the holy Roman Empire, its furniture is not typical of the German style. Some of the forms and the decoration came from France, but the result is too refined to be classed as French provincial. The industries of Liège had been stimulated by the wars of Louis XIV, and the Walloon (Now French speaking part of Belgium) population included many brilliant craftsmen.The houses built by the 1730s include the Château de Seraing for the Prince-Bishop, and the Hôtel d’Ansembourg for the banker Michel Willems. The craft guilds flourished, but very little furniture is actually signed. The principal wood was oak, carefully chosen for its fine quality, close grain, and consistent,delicate sheen. Some pieces were partly gilded andpainted, but bronze and ormolu were not used. The most typical pieces are the great oak cupboards and buffets in one or two parts, tall clocks, commodes with four equal drawers and short feet, writing-tables, bureau, and glazed cabinets and bookshelves...

A stunning black leather, adjustable (5 positions) chaise lounge by Fabiaan van Severen (brother of the very famous Maarten van Severen). This model was originally designed in 1996 ...

Lionel Jadot 'Heavy Chilling' sofa Collectible design / Functional art, Lionel Jadot for Everyday Gallery, Belgium 2020 Fit for outside Born in Brussels in 1969, Lionel Jadot is an interior designer, artist, designer, filmmaker, adventurer. But all at once, preferably. Lionel Jadot is firing on all cylinders. ‘I never throw anything, I pick up everything. Not having a green thumb, I’m trying cuttings, weddings against nature. I never forget a line.’ He’s inviting us in subtle, off-beat worlds, on the edge of reality. Its material is made of dilated time. A wandering spirit, he seeks a protective balance in a hostile world. It is his constant questioning: what happens to the place where we live? For Lionel Jadot, everything is object, everything is history. He draws from other places, other times, and seeks what’s linking them. He sews, stitches, unpicks, blends materials, combines eras. He will enshrine some wood essence in metal, some mineral in a plant, the old in the new. ‘I take extra care to the joint between two materials.’ With him, there is always some play in the parts, as in a piece of machinery. From a kingdom to another, he provokes organic, viral growths, generating energy. Linking past and future, he never forgets a line. ‘I accumulates them.’ He’s inviting us in subtle worlds, off-beat, on the edge of reality. Are we in 1930 or in 2030? Both, no doubt. Its material is made of dilated time. The eye goes hand in hand with the ear. ‘When I walk into a place, I listen to the good (or bad) it does to me. An ineffable feeling.’ He recreates mutant buildings, like the future Royal Botanique, a 5 stars hotel housed in the Church of the Gesu, a former convent behind a 1940 façade. He talks about a ‘hotel object’, which he holds and turns around in his hand. A wandering spirit, he’s flirting with retro-futurism. The Jam, another hotel, is intended for urban travelers, fans of swiftness, fluidity and hospitality. He designs interiors as a set of objects: a motorcycle cut in concrete becomes a bar counter. He finds gothic cartoon echoes, from the likes of Moebius, Alejandro Jodorowsky, Enki Bilal, sets from Garage Hermétique and Blade Runner, a protective balance in a hostile world. Discovering Jadot’s little cosmos of collected and accumulated goods, it becomes clear that every element has its own story. I tried to collect them and in turn, devour them in the coming paragraphs. But first: the show is best experienced seated, barring the distinction between object of use and object of attention, they invite for different types of conversation. The seats, chairs, thrones all make us think of our own physical comportment, and of how the seat lends grandeur to the person sitting on it, by crowning its presence. The crackling floor, the felt walls and the diffuse light slow you down into an oddly absorbing environment, in which you are left puzzled. In the eclectic collages of objects, bits and pieces collected all over the world come together in ways practical, and logical, though possibly only in the artist’s mind. All his finds eventually seem to fall into place. Starting with the mere conception of a chair, rather than with a set-out plan or sketch, the works are intuitively construed out of an archive that one can only imagine the dimensions of. Things forgotten by others, precious for him, were all once designed for their own purpose. Here they find their fit as a base, a closing system or a balancing element. The first piece that opens the exhibition, the most throne-like of all seats in the show, builds around a chair of his grandmother, protected by mops, and harassed with bed springs. As you enter the space, you pass by a shell leaning over a yellow seat that stems from his old Mustang, and find a white stool piece with Mexican leather dog training whips— the white building blocks of which turn out to be dried molding material, as found and broken out of a bucket by workers every morning. Further, the stone piece that reminds one of the stone age, is indeed made of 400 million old rocks, and the soft seats are lent from construction, where these strokes of textile carry up the heaviest goods. In the corner — but as you walk this walk please be seated on any of the thrones and experience the work for a moment— the green fluffy cover is made by XXXX who remakes cartographies of warzones, one of which is here mounted on a flexible fishing chair. On an experience level, the conversation chair enhances self-confidence, while putting you literally in a good spot with the person you’re conversing with. The lamp perfectly shows the playful Cadavre Exquis working method of the crafter. Then the oddest piece, looks like sci-fi mobile, with sliced car seats and architecture ceiling pieces re-used. And almost shy, but blindingly elegant, stand the black caterpillar, the flexible leg...