Belgium - Furniture

An exceptional antique Spanish console table in oak wood, with 2 large drawers and beautiful craftwork from from the 18th century. This exquisite piece of furniture with two large drawers, providing ample storage space for your belongings. Hand crafted with meticulous attention to detail, this table showcases the timeless beauty of Spanish design, making it a perfect addition to any home decor. This rustic Spanish console table...

A timeless Spanish antique console table in warm oak wood with two drawers from the 18th century. This exquisite hand carved antique oak conso...

Female Bust In Carrara Marble, Late 18th Century, Northern Italy

Lovely Brussels tapestry in wool and silk from the 18th century Very beautiful quarter-stitch tapestry representing a pond on which a young musician sits with a lyre under his arm. Next to him is a woman in an pink dress and a white coat. We can see the columns of a antique balcony...

lovely little oak table from the 17 century from England called Gateleg table Very nice little table which has a superb turning and a drawer in the belt the table can be used as an...

This charming iconic gothic panel has a beautifully carved geometric pattern decoration with a carved frame. The combination of the geometric architectural decoration with its beauti...

rare 17th century walnut table from the Louis XIII period from the Vallée de la loire -France. The vallée de la Loire was during the french renaissance the place were many castle wer...

a wonderful patina on this mid 18th century wooden chest ... these pieces have become rare finds ... love them in either a classic interior but also combined with modern pieces ...

An Brutalist and Antique Sofa Table made out of an 18 th Century Chestnut wooden table top , based on a wooden modern base of an simple design, th...

a gorgeous 18th century French fruitwood chest of drawers, small proportions and with quirky feet, great design that ca...

Refreshment Table In mahogany and mahogany veneer, Saint Anne gray marble top fitted with two zinc buckets, the belt opening with a drawer, resting on tapered legs joined by a crotch...

Superb English chest from the 17th century in oak composed of 4 panels rare chest due to its quality of sculpture which is exceptional and its 4 panels since very often 3 panels Ver...

Elegant antique Italian Commode in a beautiful bleached Walnut, from the Tuscany Region, 18 th Century,Italy, the chest of drawers has a simple but elegant and refined design, origin...

Elegant and refined Terracotta sculpture of Buddha, beautiful patina of the polychromed and gilded terracotta, seated Buddha with very elegant and refined features, a good quality of...

Armchair In Carved Walnut And wool Tapestry, Late 17th Century

17th - 18th century Dutch Delft Tiles - set of 4 Oak framed blue and white tiles. Depicting seacreatures, sea monster, fish Design: In the manner of Royal Delft, AK Dutch Delftware Style, Antique, Baroque, Louis XIV, 17th century / 18th century Description: a set of 4 Dutch Delft blue and white tiles oak framed . A painting on Delft Tiles composed 6 tiles. It is fully handpaited and depicting seacreatures. All tiles are framed in oak. Colors: Camaieu blue...

A very large flemish 18th century oak linen chest This can be used for general storage. Beautifully aged wood and gorgeous carvings troughout Mid 18th century - Belgium ​ Height:...

This pair of cherubs comes from a noble family in Milan (Italy). Wear consistent with age and use. They are sold as a pair, not separately.

Regency fireplace in gray marble from the Ardennes Restored lintel Dimensions of the hearth: 93cm x 107cm

This 16th century hand-carved wooden Virgin Mary polychrome statue comes from a church in Sint-Niklaas, Belgium (Europe), and was bought directly fr...

lovely dresser base with 2 doors and three drawers from the 18th century in oak Very elegant sideboard of small proportions which opens with two leaves with very pure lines typical o...

Embriachi workshop marquetry casket Northern Italy, 15th century Alla certosina inlays (bone, stained bone, pewter and wood) H 28.2 x W 18 x D 14 cm This beautiful casket of rectangular form is richly decorated with the characteristic geometric patterns of the Embriachi style. The intricate geometric patterns are fashioned by juxtaposing lighter and darker pieces of wood, (colored) bone, horn and pewter. The lid and base are framed by a broad band of horn. When ivory became scarce in Europe due to disrupted trade routes, bone was substituted. The attention to Symmetry and balance created an harmonious visual effect Enhancing the overall aesthetic appeal of the casket. The application of geometrical motifs is in Italy known as marquetry ‘alla Certosina’, named after the Certosina Church in Pavia with its famous altarpiece decorated in this way. This is ‘intarsia technique’, a term derived from the Arabic 'tarsi', which means ‘incrustation' recalling ancient mosaics made from various materials. These geometric elements not only enhance the aesthetic appeal of the caskets but also demonstrate the versatility and skill of the artisans in creating multifaceted works of art. ‘Alla Certosina’ became famous through the Northern Italian Embriachi family who achieved a particularly high standard in working in this technique. Venice in particular was known for the production of these luxurious boxes. The caskets, hexagonal or rectangular, surmounted by a lid decorated in several registers constitute the secular, albeit equally renowned component of the workshop’s production, in addition to mirror frames and various everyday objects. The method of fabrication of those objects was based on two concepts that underlay pre-industrial production: standardization and modularity, thanks to a distribution of skills according to the different phases of fabrication. even the realization of the marquetry motifs (in the form of ingots from which portions of the desired size were cut) were therefore entrusted to various specialized craftsmen, as were the assembly phase. Today better known thanks to the extensive research work recently carried out by Michele Tomasi, this workshop owes its name to its founder and owner, the Florentine Baldassare Ubriachi (or degli Embriachi), a merchant and banker established in the Tuscan capital before he settled in Venice in 1395. Together with sculptor Giovanni di Jacopo, who directed the workshop, from the last years of the fourteenth century, Baldassare oversaw a production that was truly original, and still easily recognizable today, comprising monumental altarpieces and various objects, primarily triptychs and caskets. The precise location of the workshop is unknown, except that it originated in Florence and in ca. 1431 there was apparently a workshop in Venice, in the area of S Luca. They employed local workers specializing in 'certosina' (inlay of stained woods, bone and horn), and the workshop produced items carved in bone (usually horse or ox) with wood and bone marquetry. The geometric decoration of Embriachi caskets reflects the artistic complexity and attention to detail that characterized their work. this inlaid casket is a testament to the skill and artistry of the Embriachi family and serves as a stunning example of the decorative arts of the late Middle Ages. Related Literature : E. Berger, Prunk-Kassetten: Europäischen Meisterwerke aus acht Jahrhunderten / Ornamental Caskets...

Altarpiece group representing the flagellation Brabant, circa 1560-1580 Carved wood, polychrome, and gilded 50 x 38 x 7 cm At the center of the group, Christ stands upright, leaning...

Group of altarpiece representing the life of a Saint, Saint Renualde? Engraved by the sign of Antwerp hand on the hat of the central character Carved oak, traces of polychromy Fir...

wonderful patina on this Spanish ebonised and guilt pearwood framed mirror, lovely foxed mirror glass ... chic, elegant, timeless ...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

Cercle of Jacopo della Pila (Lombard, in Naples 1471-1502) Marble relief depicting a winged Cherub Naples, second half of15th century 40 x 57 x 12 cm Exquisitely carved, this relief portrays a winged cherub with cascading hair and delicate features. The cherub's plump, smooth countenance, rounded cheeks, outlined lips, and finely drawn nose emanate a sense of tenderness. The quadrangular module, is adorned with a carved frame. The relief ascends gradually, transitioning from the low relief of the wings to the high relief of the head. The rectangular frame and the subtly curved form of the artwork suggest that the relief likely adorned the upper part of an arch or a vaulted chapel. The type is that of the perspective room with a coffered ceiling decorated with figures of winged cherubs, which is found in various Neapolitan chapels of the 15th century. Coffered ceilings attest to the recovery of antiquity and the search for luxury in Renaissance architecture, first in Florence, then in Rome and Naples. The majority of the numerous family chapels and tombs built during the late fifteenth century in south of Italy employ the new formal vocabulary of the Florentine Renaissance in a self-confident manner that permitted a broad spectrum of variations. The escalating admiration for the classical world, coupled with the development of perspective, significantly contributed to the Renaissance endorsement of coffered ceilings. This artistic and constructive device drew inspiration from the intricate marble patterns observed in historical landmarks such as the Arch of Titus, the Temple of Vesta in Tivoli, the Pantheon, and the Basilica of Maxentius. A distilled product of both mathematical and artistic cultures, deeply scrutinizing the ancient world, the coffered ceiling plays a vital role in the perspective construction of space with its regular and directional geometry. The motif of the coffered ceiling decorated with cherubs in relief was introduced in Naples by Francesco Laurana in the plastic decoration of the Arch of Castelnuovo. Laurana's impact on the art scene in the south of Italy was profound. The introduction of the winged cherub into the region's artistic vocabulary bridged the gap between the classical and the contemporary, creating a synthesis that resonated with both aesthetic and spiritual sensibilities. His influence extended beyond the immediate visual appeal, shaping the cultural identity of the Renaissance in southern Italy. Although the plastic decoration of the Arch of Castelnuovo cannot certainly be ascribed to a mature Renaissance style, it was precisely on this occasion that the sculptors who worked there could get to know and export throughout the Italian peninsula that type of "Florentine classicism" which, even in the 15th century Naples, was conditioned by the Burgundian culture imported into the Kingdom by Alfonso of Aragon himself, with artists called from Spain and Northern Europe. The coffered ceiling, with its geometric patterns and Laurana's winged cherubs nestled within, became a symbol of refinement and cultural sophistication. The relief sculptures, carefully integrated into the overall design, transformed the ceiling into a celestial realm, inviting viewers to contemplate the divine while immersed in the grandeur of the Renaissance space. Similar winged cherubs appears also in the Naples cathedral. Within the renowned Succorpo Chapel, a mesmerizing marble coffered ceiling adorned with cherubs epitomizes the splendor of the Neapolitan Renaissance. The interplay of light and shadow on the textured surface of the marble coffered ceiling introduces an ethereal dimension, providing an immersive visual experience for observers. The geometric precision and the repeated patterns, reminiscent of classical motifs, establish a sense of harmony and balance that has become the hallmark of the Neapolitan interpretation of Florentine Renaissance aesthetics. Although probably intended to be admired from a distance, this cherub is intricately detailed and exquisitely rendered: the face and hair are elegantly outlined and the feathers are textured through juxtaposed lines. The marble, both figurative and decorative, adheres to the principles of balance and restrained ornamentation typical of the « Florentine Classicism ». Harmonious shapes and gracefully orchestrated curves , rooted in the classical repertoire, converge to evoke a sense of ethereal beauty. The surface displays the masterful use of a chisel to intricately carve the feathers and facial features, creating an almost abstract quality. This work is a testament to a sculptor of great skill and rich figurative knowledge, seamlessly blending classical firmness in contours with a refined treatment of the marble's surface. The combination of tradition and innovation point to a stylistic idiom from Lombardy, in particular we can find some comparaisons with the works of Jacopo della Pila, sculptor of Lombard origin working in Naples in the second half of the 15th century. He is documented there between 1471 and 1502, and is a protagonist of the Aragon Renaissance in the second half of the Quattrocento, together with the other great Northern sculptor active in the kingdom, Domenico Gagini. the first commission he received dates back to August 9, 1471, when Jacopo publicly committed to sculpting the funerary monument of Archbishop Nicola Piscicelli to be placed in the Cathedral of Salerno. The last known work is an altar ordered on July 29, 1502, by the noble Jacopo Rocco for the church of San Lorenzo Maggiore in Naples. Between these two chronological extremes (1471-1502), we must place the fervent activity of the artist, who had trained in Rome, perhaps under the guidance of Paolo Romano but also engaged in dialogue with other major artists of the city, especially Isaia da Pisa. He enriched his experience in Naples, initially drawing inspiration from the works of Domenico Gagini and later from the Tuscan masterpieces of Antonio Rossellino and Benedetto da Maiano destined for the church of Santa Maria di Monteoliveto. Jacopo della Pila's artistic personality is thus based on a complex interplay of influences, contributing to the definition of a highly personal style. Close comparaison can be made between our cherub and the winged angels reliefs...

Louis XVI fireplace in Ardennes Gray Marble Hearth dimensions: 81 x 84 cm

This antique fireplace surround is from a French country house in Burgundy. The hard stone looks like lime stone. All pieces have a very nice finish: remains of original patina, poin...

Pair Of Chapel Tops In Carved And Gilded Wood, Netherlands, 17th Century Possibility of selling by piece also

Louis XV Commode In Veneer And Gilded Bronzes, Rance Marble, 18th Century

Important Antwerp Cabinet In tortoiseshell, ebony And Bronze, theater in ebony and bone marquetry

Louis XV fireplace in gray Ardennes marble Dimensions fireplace: 97 x 118cm

A beautiful set of 3 antique KHMER vases from South East Asia, from the Thailand-Cambodia area, good patina and shine of the glazed Brown terracotta, fine decorations and design of t...

Set of 3 Khmer Vases from the Cambodia-Thailand region in South East Asia, 11-13 th Century, the vases have a great patina and shine and are very decorative, fine decorations and sim...

half-moon console table with saber legs dating from the 18th century, very beautiful patina with decorative motifs (patina in several colors)

This fine limestone original antique fireplace surround has grand proportions. The limestone is reflecting the light and has a silky touch. Left jamb had a restoration. A perfect fit...

Louis XV Mirror In Carved And Gilded Wood With Parecloses, 18th Century

This very nice French country style limestone fireplace surround and carries still some original patina. The mantel has deep jambs with deep retours (which can be adapted). This is a...

Louis XVI Mirror In Carved And Gilded Wood 18th Century

A 17th century armchair with beautifully patined walnut and leather. The design almost timeless with simple yet perfectly proportioned straight lines. Sturdy and very comfortable. Al...

Large 17th Century Delft dish Chinoiserie blue and white Delftware Charger Material: Delft, earthenware, pottery. Design: Ming Dynasty, Wanli style, Chinoiserie Style: Ming, William ...

Christ on the cross, Wooden and red tortoiseshell crucifix, silver, Antwerp hallmarks Dimensions of the Christ : 19 x 14,5 cm

Large 17th Century Delft dish Chinoiserie blue and white Delftware Charger Material: Delft, earthenware, pottery. Design: Ming Dynasty Wanli style Chinoiserie Style: Ming, William an...

Watercolor On Verger Paper, Animated Ruins With Equestrian Statue, 18th Century

Elegant and refined Khmer bronze hairpin dating between the 12th and 15th century.

Late 17th - early 18th century hand-carved wooden head from Southern Europe. Made from poplar wood. Wear consistent with age and use.

Regency Fireplace In Ardennes Gray Marble Hearth dimensions: 94 x 123.5 cm

Wooden chest from Asia dating from the 18th Century, in wabi-sabi style. Wear consistent with old age and use.

Large 17th Century Japanese Edo Period Arita dish Chinoiserie blue and white Wanli Kraak Charger Material: Ceramic, porcelain Design: Arita, Ming Dynasty, Wanli style, Chinoiserie Style: Ming, William and Mary - Louis XIV Baroque, Antique, Asian antique, Oriental Origin: Japan, Arita, 17th century Colors: Blue and white, the blue is unbelievable fabulous Decor: Chinoiserie, Chinese Wanli style known as "kraakdish" Description: Large 17th Century ceramic...

Elegant,antique Grey-Beige Marble Mortar in Pierre de Lens from France, very decorative and powerful object with an old and warm patina, nice wear of the antique marble, great color

Antique chest of three drawers with a marble top. Small crack shown on pictures.

We mounted this Gothic architectural fragment on a custom iron stand. In this new context it becomes a sculpture with a almost abstract f...

lovely 17th century walnut table Louis XIII style table resting on a very elegant base with turned legs connected by a spacer and ending with balls Very nice filming work with good q...

Superb Jacobean period chest of drawers from the 17th century from England in oak Very beautiful chest of drawers with a superb molding work on the drawers of very good quality as w...

A small and fine burgundy bicolor hard stone vintage fireplace surround. The surface is hammered and tailler. It was built in the Louis XIII period, 17th century. Measures: 130,5 cm ...

Engraved Nautilus shell Netherlands, 18th century 13 x 10 x 7 cm Although fragmentary this beautiful nautilus preserves almost intact a beautiful hunting scene. The 18th century ...

The design of this vintage floor lamp called Tolomeo terra floor lamp comes from Michel de Lucchi & Giancarlo Fassina from the series of the late 1980s, and is manufactured in Italy ...