Belgium - Furniture

Set of 6 black italian leather high back dining chairs. beautiful sleek and timeless design. The chairs are in good condition 1980s - Italy Dimensions Height: 103cm Width 45cm De...

Vintage wall plate “The Seasons” “Summer” by ROSENTHAL Germany Studio-Line. Limited edtion designed by Bjorn Wiinblad. Brilliant colours, very impressive! Gorgeous plate that will fit into any interior with dignity! It will be very beneficial to attract the eyes of your guests! Bjorn Wiinblad is one of Denmark’s most famous artists. He traveled the world exhibiting his work, creating theatrical scenery and tapestries, and painting its lovely girls with pert noses and almond-shaped eyes on cups, jugs and dishes. Bjorn Wiinblad was an extraordinary personality with an enormous art...

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...

Contemporary Large Murano Glass Chandelier

French Victorian 20th century 6-light crystal chandelier with purple and transparent glass. Measures: Diameter 50 cm. Height fixture 60 cm. Total height including the chain and ca...

Large Scandinavian style pendant light from the 60s. Metal frame with jute rope, plastic light cover and wooden parts. The lamp has one sockets for incandescent lamp with screw base...

Extra large vintage Murano glass vase in a perfect light blue tone. Mouth-blown in blue glass . Handmade in Italy, 1970s. H: 12.2" - 31 cm D: 8.6" - 22 cm

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...

Vintage Midcentury Modern Dutch Design Round Tripod Wenge Coffee Table. Made in the Netherlands, 1960's period. Wenge wood veneer on chrome tripod feet. Minimalist design on this sma...

Gorgeous brown leather DS47 sofa from De Sede. De Sede, renowned for using the best quality leather has created some wonderful sofas. This one is no exception and has very thick ne...

Dressing table - Raymond Loewy - model "DF2000" - Doubinsky Frères - 1960s Wear Consistent with age And Use : See Photos Compagnie de L’Esthétique Industrielle (CEI) was a design co...

An iconic piece of mid-century design, the Loop Chair by Willy Guhl was created for Eternit in the 1950s. Made from a single sheet of fiber cement, its sculptural, continuous form em...

A vibrant and rare table lamp designed and produced by Massive Belgium in the 1970s. This piece features a high-gloss red ceramic base with ornate contours and a circular handle, top...

Great looking mid century bar cabinet with beautiful veneer wood and a chrome and wooden base. The bar cabinet consists of 2 doors and 2 drawers providing loads of storage space. V...

In 1987 Gaetano Pesce designed the amazing armchair Feltri for Cassina. Feltri was created within Cassina’s Research Centre, a place synonymous with experimentation and constructiona...

Pair of rattan armchairs . Seat height: 41 cm. Wear due to time and age of the armchairs. FOR SHIPPING, REQUEST US FOR RECEIVE THE BEST PRICE

Zoomorphic Mid Century Studio Pottery Phantasy Animal, Europe, 1960s. This is a fantastic mid century phantasy animal in studio pottery - reminds us of the works by Etie van Rees an...

Vintage Tomado Holland modular wall rack, it concerns the smaller and rare pocket version with 3 colored metal shelves, iconic design topper by Adriaan Dekker, 50s-70s, Netherlands, ...

Large exquisite Art Nouveau flush mount or ceiling light with bronze and etched glass shades. Bring timeless elegance to your interior with this beautiful Art Nouveau ceiling light...

Vintage Pulley Pendant Lamp – Circa 1950 Crafted from metal and designed with functionality in mind, the piece features a classic pulley mechanism that allows for height adjustment...

Italian Murano glass and brass chandelier. Diameter: 40 cm. Height: 65 cm. Total height with the chain: 100 cm. Four E14 bulbs.

One-of-a-kind dining table. Born in Romania in 1986, Mircea Anghel is a self-taught designer based in Portugal and the founder of Cabana Studio. From a young age, growing up in Buch...

Decorative mid-century apple form vide-poche, circa 1970, France. Polished brass. Dimensions: 19 cm W, 18 cm D, 4 cm H. All purchases are covered by our Buyer Protection Guarantee. T...

Iconic Don S. Shoemaker Sling Swinger chair with footrest. Made from cocobolo (Mexican rosewood) and black leather in the 1960s. The biomorphic lines of the exotic rosewood create an...

Art Deco bronze sculpture Diana the huntress with bow and fawn by Charles Eugène Breton on a rectangular bronze base. With artist signature and title. France 1930. Art Deco bronze...

Swedish antique pine and birch wooden storage box. The lady’s got them to store there small goods at the wedding. Fine quality of bentwood. It is a true piece from the early 19 centu...

Art Deco bronze sculpture dancing nudes, COUNTRY DANCE by Claire Jeanne Roberte Colinet. Bronze, patinated. Red marble base with gilt bronze plaquettes...

Large bust weight of Venus with silver inlaid eyes and celestial diadem,Roman culture,Germany,2nd-3rd century AD. The goddess is depicted nude, slightly gazing to her right with detailed silver inlaid eyes and firmly expressed lips. Her hair is piled high in two parts, loosely drawn back and tied in a chignon. The goddess has been depicted nude, wearing an impressive celestial diadem with three luminaries (two of them silver inlaid) and six lunae. Material: Bronze (copper alloys and lead), decorated with silver inlays. Traces of lead fillings for calibration of the weight Dimensions: Height 14 cm. Provenance: Old private coll. Munich, Germany before 1980. Later : Görny and Mosch GmbH, Munich, 1999/ Private coll. Schellingerhout, Nieuwenhagen, Netherlands (acquired in 1999) / ex private collection KS, Antwerp, Belgium. Certificate:Akanthos. Akanthos Ancient Art Antwerp Expertise For: Artefact: Bust weight of Venus (Aphrodite) with large celestial diadem and silver inlaid eyes. Country: Germany. Culture: Roman. Date: 2nd-3rd century AD. Material: Bronze (copper alloys), decorated with silver inlays. Traces of lead fillings for calibration of the weight Lit: Published and illustrated: GM Munich, 98 /1999 number 2307. Provenance: Old private coll. Munich, Germany before 1980. Later: Görny and Mosch GmbH, Munich, 1999/ Private coll. Schellingerhout, Nieuwenhagen, Netherlands (acquired in 1999) / ex private collection KS, Antwerp, Belgium. Remarks: Dimensions: Height: 14 cm. Steelyard weight...

Four wall lights produced by the Amsterdam-based RAAK during the 1970s. Aluminium housing and holds one bulb. These vintage lamps are a typical example of 1970s Dutch lighting, whic...

Stool in Walnut 'Solid' by Atelier 365 x Valerie Objects Dimensions: D. 35 x H. 45 Fascinated by traditional wood joints, Greindl constructs wooden fu...

Designed like a flower, hand-formed wrought bronze base with a floating glass top by Lothar Klute - 1980s, a Germany artist. A beautiful unique design for a side table or coffee tabl...

This nice Pompadour antique fireplace mantel-surround, in a very rich marble, was original installed in a corner in a panelled room in Bruges. Fine architectural element from the 19t...

Vallauris wall mounted decoration tiles handcrafted and signed. Beautiful decor of summer flowers glazed tiles in bright colors orange, yellow, blue, gray and red, all signed by Vall...

Tall Italian majolica serpentine handles vase with a mythological scene Depicting The Triumph of Bacchus and Ariadne - Annibale Carracci - 1597...

Elegant italian design dining room chairs designed by Umberto Asnago for Giorgetti. The set consists of 8 high back solid wooden dining...

Floor lamp by Uno Dahlen for Aneta. In red lacquer metal and plastic shade. Original tag, Sweden, 1960s.

Art Deco cast bronze sculpture of a lady. Attributed to Guido Cacciapuoti (Italian 1892-1953). Featuring a stylised striking representation of an elegant yet mysterious lady. Dual to...

Elegant early 20th century English wing chair with mahogany frame and new linen upholstery.

Very decorative, vintage kerosene lamp of the famous Liège factory Les Établissements Lempereur & Bernard, Belgium. Comes with a glass shade. The ...

Contemporary Wooden Mirror, Italy - 2 Available

Vase from the Walther factory in Germany, from their midcentury production. This Faceted sides so that they catch the light when you pass by, and are of sufficient weight to ensure ...

Pair of Wrought Iron Dachshund Andirons Brutalist - Vintage - Open Fire Measures : 18cmx46,5 H:20cm Material : Iron Wear Consistent with age and use

Old bronze statue from the beginning of the 19th century of Napoleon Bonaparte of fine quality. Original aged patina Total height 22 cm, base 8.8 x 8.8 cm, heigth figure 9 cm

Meissen Porcelain Candelabras antique German porcelain - a pair Each with 4 lights and 2 figures, emblematic of the four seasons. The cand...

A large and rare early French 20th century Art Deco bronze alabaster eight-light chandelier. Measures: Height fixture 87 cm. Total height 100 cm. Diameter 65 cm. Twelve bulbs w...

Mid-Century Modern Modular Fiandra Sofa 4-Seater by Vico Magistretti, Cassina, Italy, 1970s - New Upholstery

A life size plaster sculpture representing Jeanne of d'Arc as an androgynous girl dressed as a knight and wearing a fleur-de-lys covered cl...

Art Deco style figural table lamp of a standing nude lady holding a glass globe. This model is called Lueur lumineuse and is the smaller version of the iconic Clarté lamp by Max Le V...

Set of eight very rare Model S2 chairs designed by Alfred Hendrickx in 1958 for Belform. Although the chairs look very fragile they are very solid in t...

Large Vistosi onion shaped Murano glass pendant lamp, circa 1960, Italy. White glass wavy band on white opaline . Dimensions: 40 cm diameter, 40 cm H. Original condition. All purchas...

Rare Winkelman & Van der Bijl Floor Lamp in Wrought Iron and Opaline Glass, The Netherlands, 1920s. This is a very rare and early floor lamp by the renowned Dutch manufacturer Winke...

Antique and characterful Wheel Back Windsor chair made of elm and beech, at the back the initials JG, United Kingdom, late 19th century. Simplistic and pure design, steam-bent wood,...

Vintage Midcentury Modern Italian Design "AMANTA" Modular Sofa / Lounge Chair set by Mario Bellini for B&B Italia / C&B Italia. Made in Italy, 1970's period. Marked with original lab...

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...

Guido Cacciapuoti Italian Art Deco large ceramic animal figurine Depiction: Two parrots on a tree trunk Hand crafted and hand painted in strong ...

Infinity Bookcase by Pol Quadens Limited Edition Of 8+4 Pieces. Dimensions: D 30 x W 420 x H 360 cm. Materials: Polished stainless steel. Pol Quadens was born in Brussels. His fath...

This fiberglass chaise longue ‘Eurolax R1’ is designed by Charles Zublena. The ‘Eurolax R1’ designed specifically for the ‘Club Med’ in 1965, will equip all of the Club’s beaches. Pr...

Elegant massive rosewood table by female designer Grete Jalk. Produced in the 1960’s by cabinetmaker Poul Jeppessens. We have 4 chairs with backrest and seats in black leather availa...

Very high quality bronze statue of a monkey dressed as a marquis from the end of the 19th century Height 16 cm

An Art Nouveau period extending dining table, France, circa 1890-1910. (with two conmforming leaves.) The table can be extended to a length of 89" - 2.27 cm. Height 30.1" - 76.5 ...