Belgian Furniture

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...

Provenance: Oudenaarde manufacture, Flanders, Mid-16th Century Tapestry wool and silk texture Dimensions 340/330 x 340/338cm Extremely rare piece In good condition Washed and lined It is a typical Flemish tapestry "with large leaves", well preserved, woven with green, yellow and brown yarns whose colors have remained fresh and intense. The market and collectors in recent decades have greatly re-evaluated tapestries with "large leaves", appreciating their high decorative value and ability to blend in with modern furnishings. Our tapestry belongs to a very particular subcategory of the "feuille de...

Collection of 9 plaster Model heads by Gustave Fontaine (1877-1952). Gustave FONTAINE ( Etterbeek 1877-1952 Brussels). Sculptor–painter. Took courses in Saint-Josse-ten-Noode, contin...

Val Saint Lambert green cut-to clear crystal centerpiece fruit bowl, Signed A Belgium large green colored cut to clear crystal centerpiece from Val Saint Lambert, Belgium, establish...

Beautiful vintage sun mirror, sunburst mirror made of gold-plated resin or resin, with a flat mirror, high-quality design object by Deknudt, Belgium, 1960s. Belgian house Deknudt, s...

Art Deco Panther circa 1930. Silver-plated bronze subject on a black and white marble base. Signed on the marble V. Demanet. In perfect condition. Total height: 17 cm Length: 40 cm ...

ILG, Belgium, designed a functional modernist desk accessories set in the 1940s. The set includes a letter and pen holder, featuring a streamlined shape and boasting burgundy-red han...

Fantastic Deknudt mirror with facet cut mirror glass and classic gold-colored frame completely in Empire style, second half of the 20th century, Belgium. High-quality mirror in Empi...

A super sweet painting, a portrait of two cavalier King Charles Spaniel dogs. The painting was made by the Belgian artist Robert Detrixhe. The painter was born in 1935 and was partic...

A pair of 1970s table lamps featuring mushroom-shaped shades. The lamps have a chrome steel base, the shades are made from warm-hued copper. Over the years, both lamps have develope...

Stunning low burnt bamboo coffee table by Axel Vervoordt, Belgium 1980s. This table is in good vintage condition with some minor wear on the top and around the edges but this does no...

Cool vintage rotary telephone by Bell Telephone Company, Belgium, dated inside 1942. This beautiful and elegant model has a bakelite horn and...

Vintage rotary or dial telephone, made entirely of Bakelite, designed in 1951 by Ericsson for the PTT, the design is based on its art deco style predecessor, the Ericsson model 1931....

Beautiful mid-century mirror in Louis XVI rococo style, domed mirror made of wood covered with gold leaf, by La Barge Mirrors inc., Belgium, ca 1950s. This high quality mirror has a...

Side Table Newton Dark Green with all structure in stoneware in glazed finish.

This traditional style Verdure hanging shows a closeup leafy plant still life, with two oak trees in full leaf behind, and a placid pond with low hills along the horizon. Shades of g...

Singerie is a visual art genre that features monkeys imitating human actions, often dressed in stylish clothing, designed to amuse and offer a satirical take on society. The term ori...

Antique pergola tapestry handwoven in wool and silk in Bruges, Belgium in the mid-16th Century. Pergola tapestries are typified by a harmony between ...

Contemporary Belgian design, handmade natural plaster table with a textured and earthy character. Stain free and very easy to maintain. Unlike natural stone, the plaster surface has ...

19th Century Majolica blue & white oyster plate Wasmuel. Reference / Page 48 "Oysters plates" of J. Karnitz.

A beautiful painting, a portrait of a Chihuahua dog. The painting was made by the Belgian artist Robert Detrixhe. The painter was born in 1935 and was particularly active at the end ...

A gorgeous extraordinary starburst sunburst convex mirror. Made of gilded resin. No chips, no cracks, no repairs. It measures approximate: 22" in diameter, the mirror itself is about...

Belgian Mid-Century, cognac buffalo leather loveseat by Durlet. The Durlet company was founded in 1966 by Egide Durlet and from the start the company opted for manufacturing top qual...

Beautiful and quality crafted sideboard designed by J. Batenburg for MI, Belgium. This decorative sideboard can serve as an exquisite centerpiece and eye-catching element for any hom...

Often falsely attributed to Flavio Poli/Murano this large rare table light from Val Saint Lambert in Belgium is executed in clear and blue lead-crystal. It was made during the 1950s ...

Beautiful table lamp, rarely found in these dimensions. In mint condition.

Oval dining table made of 18th century oak wood, natural in patina with the original grayed shade. Simplistic and minimalist in shape. Gives ample space for 8 people, up to 10 peop...

This stunning 18th-century period fireplace mantel, sculpted in exclusive Royal Sarrancolin Fantastico marble, showcases intricate carvings and decorations, including a central shell...

An important LARGE Flemish tapestry 16th-17th century Old Testament subject of King Solomon, standing before his tent in armour and receiving a gift of two peacocks, from an old m...

Made from Belgian bluestone with a honed finish and embedded with fossils, the table is comprised of a thick square top with bullnose edge and baluster-form support. New with only mi...

Spectacular and unique dining table with oval top on a 8 arms pedestal base. . Solid wood construction. Unique piece. seats up to 8 chairs comfortably. Top can easily be removed for ...

“Sphere”, bronze sculpture by Ado Chale. The bronze sphere features subtle undulations that add to its character and appeal. The smooth surface of the bronze catches the light, high...

Modular wall unit or room divider designed by Jos De Mey for Van den Berghe-Pauvers, Ghent Belgium. 1958. Four black metal mounted on oblique, four tapering legs, brass stretchers ad...

Manufacture Des Bruxelles Epoque: 16th century Style: Rome and Ancient Greece Condition: Perfect condition Material: Wool & Silk Width: 355 cm Height: 300 cm Depth: 0.5 cm Roman Tri...

Val Saint Lambert blue cut-to clear Crystal ashtray, Signed A Belgium blue colored cut to clear crystal ashtray from Val Saint Lambert, Belgium, established since 1826. The ashtray...

This unique Belgian monastery console table carved from oak is an impressive item. One of a kind. The artisanal sculpting is detailed yet simplistic. Tablet is marked by life. Pure i...

Belarti Belgium designed this elegantly crafted Mid-Century Modern coffee or side table in the 1960s. This cocktail table features an eye-catching ceramic tiles top using a rare turq...

Beautiful vintage purple or pink crystal bowl, fruit bowl or vide poche by Val Saint Lambert, early 60s, Belgium, marked with the makers sticker. Va...

A petite starburst sunburst mirror. Made of gilded resin. It measures approximate 15.75" in diameter, mirror itself is approximate 5.25" in diameter. It stands approximate 1.75" from...

These extraordinary etched brass tables embody the raw beauty and sculptural presence that define mid-century design at its most avant-garde. Their interlocking, biomorphic form is a...

Collection of 9 plaster Model heads by Gustave Fontaine (1877-1952). Gustave FONTAINE ( Etterbeek 1877-1952 Brussels). Sculptor–painter. Took courses in Saint-Josse-ten-Noode, contin...

A beautiful complete barware set, made by the Belgian brand Val Saint Lambert. The set is composed as follows: - cocktail shaker classic model 26 cm high and Ø9 cm - cocktail cup ope...

Antique Belgian knockdown armoire / wardrobe / closet / bookcase / cabinet. Made of oak featuring a carved floral / flower design with large upper cubbie shelf adorned with a foliat...

Vintage green belgian planting station with dark green vinyl and brass accents with patina and discoloration. Finely worn vinyl. Replaced bolts to attach upper shelf. End folds down ...

A beautiful antique oil painting, portrait of a dog. The painting is signed V.I.B. Gerard, this could be the Belgian painter Victor Jean Baptiste Gerard, but not sure. The painting i...

Hidden bar coffee table attributed to Willy Rizzo. This coffee table consists of two pivoting table tops that open up to showcase a drinks compartment with original bottle holders....

Made from Belgian bluestone with a honed finish and embedded with fossils, the table is comprised of a thick round top with bullnose edge and barrel-form support. New with only minim...

Made from Belgian bluestone with a honed finish and embedded with fossils, the console table is comprised of a thick rectangular top with ogee edge all raised on scrolled concave sup...

Dining or center table by Ado Chale. Large dining table or center table with a resin top inlaid with Carnelian agate stones. Equipped with a double tripod foot with wide spacer. (Six...

Cast aluminum brutalist door grill or wall decoration. Can be screwed to your existing door without any major construction work. Last photos showing the back side with screw holes an...

A rare and completely original 1920s Art Nouveau chandelier with a striking Hollywood Regency aesthetic. This exquisite three-tiered piece features elegantly curved Art Glass leaves,...

Mintjens Belgische Meubelmakers Brutalist oak sideboard with 4 doors and 3 drawers, all with slender aluminum handles,. Handsome construction with legs that wrap around the piece. In...

8 St. Louis Cut Crystal Florence Pattern Cut to Clear Gemstone Goblets Belgium, Circa 1970s This exquisite set of eight St. Louis-style cut crystal goblets, made in Belgium circa the 1970s, showcases the brilliance of the Florence pattern in striking gemstone colors. Each goblet stands 9.5 inches high and features exceptional craftsmanship, with faceted long stems and floret-carved bases measuring 3 inches in diameter. The collection includes an array of vibrant cut-to-clear gemstone hues: 1 Peridot Green Goblet 1 Ruby Red Goblet...

In their long career, Belgian ( interior) designers and architects Claire Bataille and Paul Ibens have remained true to their starting point: striving for the greatest possible simpl...

This large square midcentury coffee table is a classic piece by the Belgian furniture maker and designer Belgo Chrom. It is made from great quality materials and has a brilliant de...

Huge facade outdoor wall mount lanterns lightning , 20th Century Huge Belgium facade wall lanterns, 20th century This set of facade lightin...

This is a stunning Val Saint Lambert Dog Bone Sculpture Crystal Glass Paperweight. It has the maker's mark on the side of the glass. Val Saint Lambert is one of the leading crystal m...

Karel Mintjens Brutalist Oak sideboard with linear cast aluminum pulls, 4 storage cabinets and box joint detail. Handsome construction with legs that seemingly wrap around the piece....

Hanging Lamp N°5 by Muller Van Severen x Valerie Objects Dimensions: L. 90 W. 25 H. 100 CM Finish: Blue Specifications: — light source: 4W led — colour tempertaure: K2700 — lumen ...

Add a touch of opulence to your home with this charming chandelier! Perfect patina to the Metal to enhance any chic or eclectic home. We'd love to see it hanging in an entry hall or ...

A timeless piece of brutalist craftsmanship from the 1970s, manufactured in Belgium. The cabinet is made out of a black ebonized oak and had metal doorhandles. It features two graphi...

Elevate your space with the Brussels 16th Century Pillow a 19 x 10 masterpiece of timeless design. Bring a touch of historical elegance to your décor

A set of 6 dining chairs by Mobichalet, Belgium, 1950s. These brutalist chairs features a bold brutalist design, defined by its robust form and strong, angular lines. Made out of sol...

Experience the allure of history with our Brussels 16th Century Pillow, measuring 19" x 8". Immerse your living space in the intricate beauty of 16th-century Brussels design, meticul...

A set of 12 entirely hand-made blown crystal goblets with cobalt blue overlay cut to clear with clean geometric decoration. The shape is lovely to hold, a rounded body with a hollow ...

Belgium / 1980 / 2 coffee tables / oak, wood, travertine / Mid-century / Vintage Beautiful set of two minimalistic coffee tables, designed in Belgium in the 1980s. These tables have...

wall coat rack from the 1930s This beautiful French wall coat rack from the 1930s is in the streamlined modern Art Deco style. This style emphasized curvy, streamlined shapes. The c...

This is a Val Saint Lambert Crystal -Borodin Dance de Flore - Bowl/Centerpiece. It depicts a clear crystal bowl with pedestal decorated in the center with a cobalt blue frieze enhanc...

This Capiz shell shimmers beautifully in its slightly golden sheen, painstakingly handcrafted into a flower that emits a lovely warm light into the room. Similar to Tiffany glass art...

19th Century Majolica oyster plate Wasmuel (Belgium) decorated with flowers.

Beautiful large round butler mirror in classic style, also called witch's eye, convex or convex mirror in gold-colored solid wooden frame decorated with patterns and acanthus tendril...

Square Majolica mermaid plate with shells on the corners, the mermaid sit on a flying fish, the border is decorated with shrimps, circa 1920.

Jos De Mey studied interior design at the Royal Academy of Fine Arts in Ghent and became a teacher at the same academy. In the 1950s and 1960s De Mey had his own practice of interior...