Belgian Furniture

Vintage sculpted brutalist design grandfather clock made from resin and wood. The clock is illuminated on the inside and has a fully working mechanism. The piece was made in be...

Senufo ottoman, unique signed stool by Arno Declercq Dimensions: L 45 cm x W 45 cm x H 40 cm. Materials: Iroko wood and sheepskin by Carine Boxy. Made by hand and Signed by Arno Dec...

Wonderful Mid-Century Modern coffee table with tiles. Design by Denisco with manufacturers mark on the tiles. Striking Belgium design from the 1960s. Chrome-plated base with origi...

Rare De Coene ebonized and aluminum sideboard. XL size , four doors and five drawers. Exceptional quality, beautifully made and in great condition.

love these papier maché floor lamps, sturdy and quirky... sold as a pair, more available.

Original vintage advertising poster for Fabrique Nationale Motorcycles featuring an Art Deco design by the Italian artist Marcello Nizzoli (1887-1969) depicting a motorbike rider as ...

Four legs stool by Arno Declercq Dimensions: D 32 x W 32 x H 50 cm Materials: Burned and waxed Iroko wood Signed by Arno Declercq Arno Declercq Belgi...

Trimless recessed adjustable directional light (both for installation in plasterboard as in hard ceiling). Visible deep-set tube, flush with the ceiling, complete with spot light, ax...

Monumental brutalist bar cabinet from the master craftsman of Belgium’s world-renowned De Coene Frères. With a behemoth ebonized three-door cabinet perched upon a robust solid wood f...

A Flemish Renaissance Biblical Tapestry 16th century In an open architectural setting, the central crowned and enthroned female figure flanked by three handmaidens, a fourth to the left urging a boy towards a kneeling woman on the right with an apple in her right hand, on the left a wooded landscape with a man walking in the distance, a man striking another over the head in the mid-ground, and a man, a woman, and a handmaiden approaching the scene in the foreground, on the right a man gesturing while others flee up a staircase and out of the scene, within a flower and fruit cluster surround punctuated along the top and bottom edges by balustrades and sphinxes, and along the sides by a figure, a mask, and a beaded and crowned man...

Handmade Artemis Wall Lamp by Gobo Lights Dimensions: D 12 x W 90 x H 120 cm Materials: Brass, Opaline. Weight: 0.35 Kg. This lamp takes the shape of the bow used by Artemis, the go...

A stunning oversized asymmetrical twisted green fade crystal centrepiece vase by Val Saint Lambert, 1960, still with original silver branded label attached. This beautifully heavy c...

Round large-scale bluestone top root wood base table. Round straight-edge bluestone top raised upon a natural-shaped base of root wood finished in varying shades of brown. Note: Ori...

Very nice Art Deco style wall Mirror . Wooden Gold Color frame . comes with a beveled Mirror . Good quality mirror . Manufactured and signed by Deknudt Belgium . 1970s

Mid-16th Century Brussels Tapestry Pillow

Belgian table made from solid Fraké wood and finished with oil, the table is suitable for use both indoors and outdoors.Each fixing within the table base is designed to give maximum ...

Belgian gilt and silver leaf wood, Art Deco mirror with a richly detailed frieze of stylized flowers and two birds in flight. The mirror has gold and silver striped moldings with tap...

Large crystal vase from the Belgian brand Val Saint Lambert. The vase is signed on the bottom. The vase has a thick wall and is of a heavy quality. This piece dates from circa 1950. ...

A Baroque Brussels tapestry from the 17th century, signed by Marcus de Vos, depicting Proserpine (Persephone) reaching for a pomegranate and on the right side a dragon, probably from...

Blue crystal pendant created by De Grelle Val St. Lambert in 1950 Belgium. Measures: Diameter 23 cm. Total height including the chain and canopy 100 cm.

French mat glass, cast desk light / table lamp 2,5 meter black cotton wire, plug and switch Also, available with US/UK plug Priced per individual item. All lamps have been made sui...

Early coffee table made by Pia Manu in the 1960. This table is made by concrete circle with inlaid fossils and pyrite, These give a beautiful shimmer and...

Antique group of three smoke bell light fixtures or lanterns all three crafted in hand blown glass in classic form and having brass hardware. The two on the...

A beautiful pair of Belgian crystal candlestick holders from luxury maker Val Saint Lambert, Belgium. Pair have a hexagon base (a nice alternative to round) and measure 9.63" Height. Markers' acid mark on bottom "Val Saint Lambert" as shown in last image. Dimensions: 5" base x 9.63" Height. Very Good condition as shown in images. No chips noted. Belgian VSL crystal...

Arno Declercq, born in 1994, is a Belgian designer and art dealer celebrated for his minimalist and functional furniture designs. His creations, meticulously crafted from natural mat...

Auguste Piece 01 White Onyx Limited Edition Armchair by Tristan Montabord-Marc Limited Edition Of 12 Pieces Dimensions: D 69 x W 85 x H 68 cm. Materials: Onyx. Also available in Ze...

Asami Dining Table by Kasanai Dimensions: D 91 x W 200 x H 76 cm. Materials: Lime plaster. Also available in different dimensions and colors. Please contact us. Natural Mortex minerals, clean lines and minimal detail: Asami epitomises Japanese design. This beautiful table has plenty of room to seat 8 people, so get your dinner party invitations...

Armand Jonckers, coffee table, resin, copper, wood, metal, Belgium, 1984 Gorgeous, custom-made coffee table by Belgian designer Armand Jockers. Every detail of this sculptural table...

Very rare Belgo Chrom ensamble in Brushed Stainless Steel and Floating Glass Iconic Belgian Modernist Design, 1970s–80s Elevate your interior with this striking and rare sideboard ...

UMBO DINING TABLE Made in burned and oiled Iroko and burned steel. “Umbo lililopinda” – Swahili for “curved form” UMBO (Lililopinda) is a collection inspired by a deep appreciation...

This is a stunning vintage metal end table base featuring an intricate bird, flowers , and tree base. You may use you own glass, marble, wood ...

A gorgeous starburst sunburst or sun mirror. Made of gilded Resin. No chips, no cracks, no repairs. It measures approximate: 14.5" in diameter, mirror itself is approximate 9.13" in ...

Console table, having a D-shaped top of Carrara marble, on a painted, conforming base, showing natural wear, with gadrooned border, its apron carved with evolute scrollwork, raised o...

Beautiful crystal bowl made by the Belgian brand Val Saint Lambert. The bowls is made of clear crystal with nice carvings and a gold colored metal ring. The bowl and the plate are ...

Tubular is the ultimate decorative table. Its presence in the room is subtle. It enhances the other objects in the room and at the same time offers beauty to whomever can catch its e...

An antique painting of a (probably) black terrier on a chair. It is signed and dated lower left, Charles Van Den Eycken, 1896. It is painted on ...

Gothic Style, very detailed crafted antique bronze box. Marked underneath, made in Belgium. In original good condition. A-444-335

Gorgeous exotic wood cabinet with one door, a fold down plate revealing a mirrored bar compartment and three drawers. Chromed metal base. Notice the fantastic wood pattern. 1960s...

Willy Daro designed these stunning modernist table lamps. The pieces were crafted in France circa 1970. These rare lamps boast giant seashells mounted on a large square polished bras...

Small sideboard / cabinet produced in the 70s by Defour, Belgium. The front is decorated with a graphical op-art pattern carved into the wood. The cabinet has two shelves inside. Sta...

1920s Art Deco Vanity Dressing Table Attributed to Henry Van De Velde This dressing table, attributed to Henry Van der Velde, showcases the elegant simplicity and functional design c...

Beautiful marble pedestal table with massive sunburst patterned table top, a fat chrome post and a thick white marble base. The top, not original to the table, was found in a Dutch e...

Genetic Tales carpet collection designed by Andrea Branzi features 15 unique designs in three different sizes: 200x300, 200x200 and 100x200. Each carpet explores the connection betwe...

Original Art Deco period fireplace surround. Measures; 110 cm EW 43.31 inch 102 cm EH 40.16” 55 cm IW 21,65” 63 cm IH 24.8” 24 cm S 9,45” Art Deco Early 20th century.

A large and custom piece, possibly done for an exhibition, we have the pleasure of offering for sale this wonderful presentation vase. A Classic signature piece from the storied glas...

A special edition by designer Oswald Vermaercke, associated with the V-Form Manufacture in Ghent, designed contemporary modern furniture for the new house in the 1950s. This version ...

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...

Massive Solid Oak Belgian dining table featuring a modern design, clean shape and a sculptural base. This strong table is handmade of long-lasting oak. A table to grow old with and s...

Pure art in the disguise of a door, that’s about all we need to say about it….. Made of copper and used in a Belgium villa during the 1960s to give the home that extra design luxury ...

Vintage wall mounted ceramic fish sculpture by Perignem, Belgium 1960s.

Belgium / 1950 / coffee table / oak / Rustic / Brutalist / Mid-century / Vintage Coffee table made of half a tree trunk resting on 4 legs. The unique and beautiful wood patterns mak...

A beautiful Antique Belgian Flanders tapestry of the last Supper late 19th Century in date. The tapestry has a captivating illuminating light with...

This pillow features Bixi Velvet Fabric (Item# 73973, BIXI VELVET FABRIC ) with a Knife Edge finish. Inspired by chinoiserie motifs, this fabulous, fantastical dragon pattern was dre...

Featuring a distinctive carved motif, this cabinet melds seamlessly with any style thanks to its elegant sense of whimsy. The oak form is elemental, enhanced by the carvings and the ...

Large brass modernist coat stand with space for umbrella storage. Beautiful Shiny brass. 1970s - Belgium Very good condition Dimensions: Height: 155cm Width x depth: 40cm Ref.: ...

This beautiful old workbench is made of solid wood and has a beautiful patina on the wood. It is a unique piece that fits perfectly in any interior. The workbench is not only functio...

Brown milk stools by Bicci de' Medici Studio Dimensions: diameter 30cm x height 30cm Materials: Natural wood. Pigment. Technique: Carved wood. Handmade. Oiled. varnished. Designer'...

Beautiful large round wenge dining table with 8 matching chairs in the style of Jules WABBES. The table can be extended with two original leaves. If there are 6 chairs at the table, ...

This pillow features Bixi Velvet Fabric (Item# 73971, BIXI VELVET) with a Self-Welt finish. Inspired by chinoiserie motifs, this fabulous, fantastical dragon pattern was dreamt up by...

Hallway table, signed by Arno Declercq Measures: 90 cm L x 25 cm W x 90 cm H 35.5 ” L x 9.8 “ W x 35.5 “H Material: Iroko wood Signed by Arno Declercq Iroko wood and oak grey s...