Belgian Furniture

A striking Belgian Brutalist bar cabinet from the 1970s, often attributed to De Coene, though crafted by an unknown maker of exceptional ...

Pair of heavy cast bronze desk lamps in the style of James Mont, made in Belgium, circa 1960s. Heavy cast bronze lamps with natural oxidation patina to the surface. Depicting Mandari...

Majolica white swan jardinière Nimy, circa 1900. Stamped: Nimy Faiences imperiale 1789-1951 Belgium. A real treasure for the ceramics' collector. ...

An important and atmospheric Flemish verdure tapestry dating to the 17th century, woven in Flanders during the height of European tapestry production. This composition presents a ser...

Nodi 3-Seater Outdoor Sofa from Tribu. The frame is made of solid, marine-grade stainless steel, but the ingenious design by Yabu Pushelberg keeps the profile light. The sofa has an ...

Original vintage travel advertising poster issued by Belgian State Railways for music events in Bruges - Brugge Beiaard Concerten Concerts de Carillon Concerts of Carillon - held fro...

Gustave Serrurier-Bovy (1858-1910) Moulin Mahogany, brass, painted glass paste numbers Creation date: 1905 H 59 CM XL 34 CM Original movement, running Bibliography: - Françoise Bi...

19th century heavily carved Flemish walnut decorative chair circa 1890. Carved back rest with mythical head, cherubs, armorial design and cornucopia.  Carved pattern to the shaped s...

A uniquely sized design classic, this T88A table was designed by Maarten van Severen in 1988 and produced by Lensvelt Netherlands circa 2000 as a special private commission. Suita...

Phenomenal fireplace surround out of a Belgian palace. The carving is deep and rich. The proportions of the mantel are grand. Could work perfectly in a Rococo style bespoke room. M...

Rustic 1970s Belgian Brutalist Coffee Table. This is an incredible table that is solid and has a lot of character. We appreciate you stopping by to see our items. Please be sure to visit our 1stDibs store and reach out to us for any questions regarding any pieces. We import throughout the year from Europe and provide unique, hand picked pieces. We are based out of Texas with 3 locations and show at Round Top 3 times a year. Thank you, Crystal Nichols...

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...

Wall-mounted weather station in carved walnut made in Liege Belgium by G.Tart. High quality mechanism with Jeweled movement barometer and thermometer (in centigrade) Unusual design ...

Original vintage sport poster advertising the Societe Royale l'Ixelloise Gymnastique Educative Escrime / Royal Society of Educational Gymnastics in Ixelles Belgium featuring an image...

A pair of magnificent original Art Deco period Verreries Belge blossom chandeliers. Impressive and voluminous, featuring eight heavily molded, bulbous, frosted art glass panels mount...

Handcrafted of solid African Ayous wood and finished with oil, the table is suitable for use both indoors and outdoors. Top is approx. 5.5cm thick. Made to Measure table – Multiple ...

Very unique and big, old oak wooden gate with wrought-iron hinges from the 19th Century.

VAL ST. LAMBERT - Mid Century amethyst glass vase - heavy glass featuring a swirl design - polished finish - flat polished base - unsigned - Belgium - circa 1950's. Excellent vintag...

A white, antique Belgian architectural model made of hand crafted plaster of Paris, in good condition. It depicts the Frederik's Church in Copenhagen, Denmark. The main entrance of the detailed cathedral is accessible by a wide staircase, particularized by four columns. The detailed dome is composed with many rectangular windows. Exceptional item collector. Minor fading, due to age. Wear consistent with age and use. Circa 1900...

A set of four Belgian hand blown and hand painted mid-century shot glasses. Decorated with a pink floral motif and trimmed with gold. Dimensions per glass.

Belgium / 1950 / coffee table / De Coene Frères / wood, lacquer / Mid-Century / Vintage Rare coffee table designed by Paul Vandenbulcke and manufactured by De Coene, Belgium in the ...

A Belgian Art Deco period bar cabinet designed by De Coene Frères from Brussels, Belgium circa 1930. Wood veneer with a distinctive grain pattern with two de...

Brilliant handmade hand-glazed Art Nouveau Vase, 1930. Handmade and hand-glazed in brilliant colored details. Made in Belgium Art Nouveau period 1930 fine quality. The piece is in ...

Large matte black pottery lamp with linen drum shade. Newly wired for use within the USA with line switch.

1960's, Belgian set of 4 Brutalist ladder back side or dining chairs. Handsomely made from dark stained solid oak. These chairs have a classic Brutalist design with split seats and w...

Painting of a Gypsy, Bohemian woman drawing the cards. Representation of a Cartomancer and Fortune Teller. Oil on canvas. Very well represented. fine and pleasant features. Delicate work. Signed lower right by M. Callewaert circa 1940 Maurice CALLEWAERT is a Belgian artist born in Belgium in 1900 and died in France in Paris in 1986. Belgian painter from West Flanders...

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...

Belgium / 1940 / dining chairs / oak, leather / Art Deco Belgian Art Deco dining room chairs made of solid oak and leather. Beautiful designed dining room chairs representing the A...

Coffee table Brutalist Slate and stone on concrete top  Oak and iron base Belgian 1960s/1970s

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 ...

Unique and antique bronze sculpture, bust of a Satyr (“Satan”) by Jef Lambeaux.. A striking and expressive life-size bronze bust by the celebrated Belgian sculptor Jef Lambeaux, dat...

Handcrafted from solid poplar wood with a charred finish, this side table or stool is both artisanal and functional, handcrafted in Belgium by a carpentry workshop in Antwerp. With...

Pair of vintage metal pots, Belgium, circa 1890. Sold individually.

Ceiling light in solid brass with clear or frosted glass. For indoor and outdoor use (IP44). Lamp LED 230V E27 4W 2700K Retro A60. Main power 230V 50Hz.

Steel side table - a minimalist design created by Belgian designer/craftsman Oscar Santens. The three legs give the piece an intriguing appearance from every angle, bringing the desi...

This set of six 1970s Belgian oak dining chairs exemplifies the honest craftsmanship and understated character of mid-century European design...

16th century / Belgium / Letter Panel / Oak / Gothic A finely carved Gothic oak panel from 16th-century France. This architectural fragment features graceful vertical fluting framed...

1920's Iron Stone New Old Stock Jam Jars - Large Quantity Available. New old stock from the original Belgian confitures factory of Mirland & Co, Frameries Belgium. We salvaged a larg...

Article: Table light crystal glass Producer: Val Saint Lambert, Belgium Origin: Belgium Age: 1960s   This fantastic vintage table light was ...

Perfect vintage wall decoration. Medium size round convex mirrors in relief pearled plastered gilt wood frames. Great addition to any wall and impactful statement on its own. Imagine this in your hallway, bathroom or in a collection of vintage mirrors...

Brown milk stools by Bicci de' Medici Studio Dimensions: Diameter 30cm x height 30cm Materials: Natural wood. Pigment. Technique: Carved wood. Handm...

I want to offer a beautiful, handmade, turned jewelry box. The box is made of three types of wood, zebrano, wild cherry, padouk. Danish oil and wax finish. If you are looking for som...

19th century Flemish carved oak dining table and benches circa 1890. Excellent quality green man trestle dining table and matching benches.  Simple plain oak top with moulded edges,...

A set of six 1940s Val Saint Lambert "Cordoba" crystal cocktail / champagne coupes

Nice European rug with a Heriz design and orange field, purple, pink, green and yellow, entirely hand knotted with wool velvet on cotton foundation.

Bengra FL4XL lamp by Jeroen De Ruddere Dimensions: D 40 x H 157 cm Cord Lenght: 200 cm Dimmable: Yes Materials: Oak Brutal nature and textile. All pieces are CE certified. Each lam...

Jumandie Seys is a Belgian artist and interior designer whose work straddles the boundary between art and design. In his quest for pure expression of form and material, he creates ob...

Zacharie Noterman or Zacharie Notermann or Zacharias Noterman, Ghent 1820 and Paris 1890, is a Belgian painter and engraver, specializing in the painting of antics, scenes of monkeys...

A very fine baroque Franco-Flemish 18th century figural tapestry allegorical to triumph and love, depicting three maidens within a verdure backgro...

Belgium / 1930 / small cabinet / wood and mirror / Art Deco Beautifully crafted Art Deco cabinet with mirror and 2 shelves behind the door. Made in Belgium in the 1930s. Small wear ...

Belgium / 16th century / wooden sculpted panel / oak / Gothic / Rustic / Antique A panel in oak wood enriched with Gothic graphic carvings. Hand carved in Belgium in the 16th centur...

Cool round vintage patchwork ottoman, made from a wooden base and upholstered in high-quality two-tone brown faux leather, manufactured in Belgium circa the 1960s. This ottoman is i...

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

Limited edition Zoumey armchair in solid walnut by Arno Declercq Dimensions: W 82 x D 86 x H 73 cm Materials: American walnut, natural wool Limited edition of 12, signed and numb...

A blue and yellow painted ceramic wall Art in relief by Bram Bogart, 1998 An unique piece of Art by Bram Bogart, painted in blue, yellow an...

Stunning 1980's, Belgo Chrome made, oval glass dining table with bronzed metal base and gold-plated brass details. The newly fitted glass top has a r...

Fabiaan Van Severen, set of three bar stools, patinated black leather, tubular steel, lace, Belgium, 1997 Distinct bar stool by Belgium designer Fabiaan Van Severen. Created in 1997...

Exceptional Flemish Treasure Cabinet in Carved Oak Late 19th Century A unique and very distinct late 19th century Flemish raised treasure cabinet in solid carved oak and brass. Stands directly in the tradition of the earlier Antwerp / Flemish treasure cabinets on stand from the 17th century and the antique Bargueño...

A gilded wood mirror likely designed and produced in Belgium, c. 1970s. Wear consistent with age and use Overall Dimensions (inches): 24.0"H x 21.75"W x 1.0"D Does not include mou...

Antique Belgian Tapestry – Garden with Birds and Pavilion, Origin: Belgium, Circa Date: 18th Century