Belgian Decorative Art

This lovely 17th century painting was made in the last part of the European Renaissance period, also known as the high renaissance, late 17th century. This scene depicts the Madonna with her Child...

A bas-relief crafted from plaster dating back to the 1960s, presumably serving as a trophy, bears the inscription commemorating the 1960 International Belgian Film Festival held in A...

Brutalist ceramic wall sculpture framed in wood and signed THK

French Porcelain Oyster Plate Limoges Circa 1900.

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

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

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

Majolica bird with cherries plate Wasmuel, circa 1890.

19th-century Majolica oyster plate Wasmuel, the wells are divided by blues lines, and red stars. One minor chip on the back. Reference / Page 48 "Oysters plates" of J. Karnitz.

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

Brutalist ceramic wall sculpture framed in wood and signed THK

Brutalist mosaic aluminum and brass wall sculpture/ decor by Belgian artist Raf Verjans.

Outstanding fish wall tile designed by Elisabeth Vandeweghe for Atelier Perignem, Beernem, Belgium in the 1970s. Dark glaze with some red and blue. Dimensions in cm: Length 56 cm, w...

A striking framed collection of Antique Beadwork. Antwerp label on verso. Group of individual antique neoclassical embroidered pieces- swags with fruits, bows, a flaming heart with s...

outstanding tapestry in wool and silk, Bruxelles, second half of the 17th century. Depicting a detailed scene of The Bull Hunting. On the background of the landscape the Monument of ...

18th century Tapestry Handwoven Wool & Silk Tapestry Palm Tree 8x12 226cm x 359cm 7'5" x 11'9" circa 1880 "This is very fine antique Flemish tapest...

A large set of unique antique tiles, with a beautiful Art Deco pattern, Hemiksem circa 1940, Belgium. The dimensions per tile are 4,7 (12 cm)× 4,7" (12 c...

Rare belgium Majolica asparagus plate Wasmuel, circa 1880. Napkin trompe l'oeil.

Large Majolica morning glory plate wasmuel, circa 1890.

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

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...

French Majolica Bird Plate signed Nimy Les Mons, circa 1890.

This is an amazing set of antique Art Nouveau handmade tiles with an image of yellow rose in relief on a soft yellow background. These tiles would be charming displayed on easels, fr...

Very Large Landscape Verdure Pastoral Oil on Canvas, Ch. Boulogne Cows Watering Verdure painting. Signed Artwork. The “Cows Watering by the River at Sunset” 4 feet height x 7 feet &...

Ceramic tile wall art decoration from a cat. Height 94 cm. Width 47 cm. Depth 3 cm.

Huge 17th C. Regal Flemish baroque Historical tapestry Royal court Antique LA CA . The period followed Renaissance and preceded Rococo and Neoclassical styles. The movement exuberant...

Rare belgium Majolica asparagus plate Wasmuel, circa 1880. Napkin trompe l'oeil.

Pair of framed XL butterflies, Trogonoptera Brookiana or Ripon's Birdwing, from Malaysia. Professionally naturalized under a black box frame with anti-UV acrylic window, with CITES ...

Belgium Majolica oyster plate with pink flowers & green leaves Wasmuel, circa 1890.

Belgium Majolica oyster plate with pink flowers and green leaves Wasmuel, circa 1890.

Belgium / 1950 / stained glass / Leo Vingerhoets / stained glass, wood / Mid-century / Vintage A large framed stained glass window of a sailing ship at sea with clouds and birds. Ha...

Belgium / 17th century / wooden sculpted panel / oak / Gothic / Rustic / Antique A panel in oak wood enriched with Gothic carvings. Hand carved in Belgium in the 17th century. This ...

A very large oil on canvas painting, Impressionism technique, of a charming coastal view. The frame is custom made of gilded gold and bla...

French Majolica bird plate signed Nimy Les Mons, circa 1890.

19th Century Majolica flowers and butterfly plate Wasmuel.

French Majolica Bird Plate signed Nimy Les Mons, circa 1890.

Very rare film poster for vintage Classic noir Gilda starring Rita Hayworth. Professionally cleaned, de-acidified and linen-backed. Touch up to bottom left hand corner. Original c...

Majolica bird with cherries plate Wasmuel, circa 1890.

Finely worked in colored woolens and depicting hunters and two lovers, signed: 'J.V.D.VELDE' Date; c. 1950-70's A charming tapestry in very good condition and representative o...

19th Century Majolica flowers and butterfly plate Wasmuel.

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...

19th Century Majolica bird & bee plate Wasmuel.

19th century Majolica bird & bee plate Wasmuel.

This compelling 20th Century Belgian artwork by René Berdal, encased in a sleek metal frame, is a masterful exploration of abstract expression. The canvas is alive with a dynamic arr...

A beautiful woman portrait in the glass closed. A stained glass technique in glass gives a magical atmosphere when light falls and changes the color palette intensity during the course of the day. An Antique stained glass panel...

Large Majolica morning glory plate wasmuel, circa 1890.

A fine and large Flemish 17th-18th century Baroque figural historical tapestry fragment. The large tapestry depicting an allegorical Royal family scene of a warrior meeting his new b...

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...

Zodiac copper wall art. Diameter:50 cm. Depth:3 cm.

Majolica flowers and butterfly plate Wasmuel circa 1890.

Belgium / 17th century / wooden sculpted panel / oak / Gothic / Rustic / Antique A panel in oak wood enriched with Gothic carvings. Hand carved in Belgium in the 17th century. This ...

Marvellous and good size work of theater art. In the pre-television and pre-movie Arts and Crafts era much more was communicated via stage performers and via drawings and paintings. This naive style painting, in an artistic manner shows us some of the most recognizable of human emotions. Also because most people (circa 1900) could not yet read, clowns and mime players were some of the most important story tellers using body and facial expressions only. Most of them were so good at what they did that, even without words, everyone knew exactly what they were communicating. 'Floating in the air' and against the dark background these mime or clown masks...

Large Majolica Morning Glory plate Wasmuel Circa 1890. 9.5" diameter.

Majolica bird with cherries plate Wasmuel, circa 1890.

We are delighted to offer for sale this lovely original 19th century Dutch oil on canvas of an old man with very grey hair and an almost Irish looking hat which is part of a suite ...

Mid-Century Modern mosaic tableau wall piece. Abstract design of a figure in mosaic marble, shades of browns and greys. Sturdy wooden frame.

This is a heavy large carved wood plaque depicting an embossed scene of the Resurrection of Jesus Christ. He is standing victorious and elevated over a U shaped cluster of clouds wit...

"Arch dedicated to Hercules" and "Arch dedicated to Bellerophon" Splendid and very rare etchings belonging to a suite of subjects executed for the preparations of the "Celebrations for the entry into Antwerp of the Cardinal-Infante Ferdinando of Habsburg-Spain on 17 April 1635". The sketches for the decorations were all drawn by Sir Peter Paul Rubens and the execution of the etchings was entrusted to Van Thulden. Bottom left: P.P. Rubens. Bottom right: G. Gervatius (who was commissioned to bring together the illustrations of the arches in a special volume) and Van Thulden. Laid paper with watermark - copper imprint - margins - excellent condition. At the end of 1634 Peter Paul Rubens (1577-1640) was invited to make a series of drawings to decorate the city of Antwerp on the occasion of the solemn entry of the infant cardinal Ferdinand of Habsburg (1609-1641) who, after his death of Archduchess Isabella Clara Eugenia (1633), Spanish governor of the southern Netherlands, had been elected as his successor. Generally in these circumstances, the itinerary was articulated through a series of stations and the city - in its main urban hubs - was adorned with decorations and ephemeral apparatuses which, without solution of continuity, covered the facades of the palaces, churches and convents facing the parade axis of the celebratory itinerary, testifying to the participatory role of the various public and private institutions that took part in the feast1. As had happened for the entrances of Charles V in 1520, of Philip II in 1549 and of the archdukes Albert and Isabella in 1599, also in this case, on 17 April 1635, the most important streets and squares of Antwerp were enriched with arrangements: temporary altars, four scenarios, a portico and large triumphal arches built in wood, over twenty meters height, decorated with paintings, sculptures and allegorical scenes. The references to the ancient alluded in this case to the greatness of the Habsburgs and to the merits of Ferdinand for the victory obtained over the Protestant armies of Sweden and their German allies. The choice to use the triumphal arch has its roots in the "city of the popes" and must be read as a connection with the triumphal and modern arches, with Rome and with the "possession" ceremony, placing the emphasis on its centuries-old use . In the elaboration of the drawings and sketches Rubens proved to be a true connoisseur of architecture, but what is most surprising about the artist is the casual use of architectural language and fidelity to sixteenth-century Roman models. In order for the memory of these works to be perpetuated over time, some artists were commissioned to etch the ephemeral apparatuses and, under the guidance of the painter Theodor van Thulden...

“Stop of the travelers” is a charming scene depicting several characters, horses and dogs with a backdrop of woods and a small house. The composition used here is a typical character...

A fine and large flemish 17th-18th century Baroque figural tapestry "A Royal Courtship" depicting an allegorical courting scene of a young princess meeting her prince at the watchful eye of a mesmerized queen standing behind her. A young girl supports the princess' dress train...

Claire Lambert (1936) large ceramic plate, Atelier Dour, circa 1960-1970.