Belgium - Decorative Objects

Collection of five Dutch Tobacco Jar Netherlands, 19th century Fruit wood, Boxwood, Mahogany and Walnut Between 19 x 12,5 and 22 x 16,5 cm A collection of five fine Georgian Dutch T...

Art Deco sculpture of a panther by Demetre Chiparus. Art metal with beautiful patina on a marble base with inlay. France 1930. This panther is illustrated in: Chiparus master of Art Deco, A. Shayo. General information: Art Deco and other figures, Brian Catley. Art Deco sculpture, Victor Arwas, Academy. Bronzes, sculptors and founders, H. Berman, Abage. Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, E. Benezit. Gründ Dictionnaire illustré des sculpteurs animaliers & fondeurs de l’antiquité à nos jours, Jean Charles Hachet. Argus Valentines; The dictionary of sculptors in bronze, James Mackay...

Heavy Val Saint Lambert crystal vase, whit Label The central amethyst color (a traditional favorite for VSL) has been given a thick Sommerso (clear layer on the outside) and sculpte...

eautiful, large and early music box. This box has a thick (about 8m diameter) cylinder and plays 2 melodies per rotation of the cylinder. The box is simple fruitwood, without mar...

Nice Monique Gerber free-form vide-poche, circa 1970, France. Polished gilt bronze. Vintage collector item. Dimensions: 15 cm W, 9 cm D, 3 cm H...

A beautiful and elegant pair of Art Deco hand-carved onyx horse head sculptural bookends with bowed head. Italy, circa 1940s.

Early Fad Cylinder music box made in Geneva by Nicole Freres. This is a good example of those early music boxes. The mechanisme has a fad cylinder and plays 8 tunes in a 2 per turn...

Mid century copper and bamboo trash can Timeless piece, in the manner of Gabrielle Crespi 1960s - Italy Dimensions: Height: 30cm/11.81" Diameter: 30cm/11.81" Ref.: 415633

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

Music box made in Switzerland in the mid-19th century. This rare snuffbox plays 2 melodies, on a comb made of several small parts. (Until the mid-19th century, it was not yet possib...

Art Deco vase with bathing nudes, peacock and ibex in shades of blue, purple, black and white. Aux Baigneuses. Marked Primavera, Longwy, France 1925. This French Art Deco vase was ...

Two Dutch Tobacco Jar Netherlands, 19th century Between 19 x 12,5 A collection of two fine Georgian Dutch Tobacco Jar. Made from Fruit wood those ring turned Jars show a very nice...

We found this organic piece with another wooden sculpture from the same maker in a house on the countryside in Holland. The maker is unknown to us, but it’s a elegantly made with ver...

Porcelain bronze mounted box, Art Nouveau style Made of hand-painted crackled, glazed high quality bronze mounted porcelain. Signed on the bottom. An all over polychrome floral deco...

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...

Bust of Governor-General Alexandre de Lorraine, plaster after Jean Philippe Augustin Ollivier, known as Ollivier de Marseille

Stunning antique porcelain vase with flower handles and elaborately shaped tops crafted in France during the end of 19 Century and Early 20th. Featuring ornate Rococo design in the ...

High quality wooden articulated artistic Lay Figures. These life size mannequins are made with great care and have a lot of positioning possibilities. What is remarkable, is the en...

I create sculptures inspired by any organic shapes that mimic a wide range of flora and fauna. The organic shapes in the natural world, whether it is mineral, vegetal, animal, micros...

Beautiful snuff box made of pressed horn. The lid depicts "Palais de l'Institut" from Paris. So the box was a souvenir box. The mechanism plays 3 melodies and is signed on the com...

Great Alessandro Pianon for Vistosi Murano art glass bird. Iconic design. Fine and good condition, free of any chips, cracks, or repairs "Pulcini" Bird (c.1963)

High quality wooden articulated artistic Lay Figures. These life size mannequins are made with great care and have a lot of positioning possibili...

Normally, calm is the default. Then, when I am stimulated, my emotions and senses are agitated, and when I am, I feel alive... Jung Jisook (1987) is a South Korean artist based in S...

High quality wood articulated artistic Lay Figures. These life size mannequins are made with great care and have a lot of positioning possibilities. What is remarkable, is the engi...

Set of 2 Cross Pots by Arno Declercq Measures: Small 13 cm L x 13 cm W x 15 cm H 5” L x 5” W x 5.9” H Large 21 cm L x 21 cm W x 18 cm H 8.2" L x 8.2” W x 7" H Material: Belgian oak ...

Mid-Century Gabriella Crespi style brass and rattan bamboo cube planter or basket with a nice patina. A beautiful planter to decorate your plants in your interior. It can be used als...

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...

Normally, calm is the default. Then, when I am stimulated, my emotions and senses are agitated, and when I am, I feel alive... Jung Jisook (1987) is a South Korean artist based in S...

Normally, calm is the default. Then, when I am stimulated, my emotions and senses are agitated, and when I am, I feel alive... Jung Jisook (1987) is a South Korean artist based in S...

Earth's Collection: I make the form, color and texture all natural. It is the growth rings that determine the form of the work. Tree rings are created by various environmental facto...

Normally, calm is the default. Then, when I am stimulated, my emotions and senses are agitated, and when I am, I feel alive... Jung Jisook (1987) is a South Korean artist based in S...

Jung Jisook wanted to express the lives of atoms that constantly move between life or matter that constantly change while alive. They don't know where the destination is, resemble a ...

Jung Jisook wanted to express the lives of atoms that constantly move between life or matter that constantly change while alive. They don't know where the destination is, resemble a ...

Normally, calm is the default. Then, when I am stimulated, my emotions and senses are agitated, and when I am, I feel alive... Jung Jisook (1987) is a South Korean artist based in S...

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...

Earth's Collection: I make the form, color and texture all natural. It is the growth rings that determine the form of the work. Tree rings are created by various environmental facto...

Earth's Collection: I make the form, color and texture all natural. It is the growth rings that determine the form of the work. Tree rings are created by various environmental facto...

Earth's Collection: I make the form, color and texture all natural. It is the growth rings that determine the form of the work. Tree rings are created by various environmental facto...

Earth's Collection: I make the form, color and texture all natural. It is the growth rings that determine the form of the work. Tree rings are created by various environmental facto...

Earth's Collection: I make the form, color and texture all natural. It is the growth rings that determine the form of the work. Tree rings are created by various environmental facto...

Iron Sculpture By Robert Michiels, Belgium, 1960s

This unusual Chokwe mask is probably Katoyo, representing non-Chokwe individuals. The deviation of the mask from the more common Chokwe masks is mainly because they represent Portugu...

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...

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...

A Set of four crystal candleholders and its matching bowl by Lalique, model Chantilly.. 1950 - 1960, signed Lalique France.

Sculpture of a human in an acrobatic position on a pole. Textured bronze

Decorative sculpture of two panters in movements, mounted on a rectangular base. The scultpure is in solid brass, and has a very balanced look.

Art Deco gilt bronze statue signed Reveil. This sculpture was made in the mid-1920s in the Art Nouveau and Art Deco period. It was probably made by Paul Philippe.This is authentic, ...

Italian late 19th century pair of antique brass candleholders. This pair of antique brass candleholders was handcrafted by Italian artisan....

A griffin is a mythical creature, half eagle, half lion. The griffins used to guard the gold of the kinds. Represents ferocity, pride, wisdom, courage and power. This unique and ra...

"Stag, doe and fawn" also know as "Deer family" Art deco bronze depicting a doe and its fawn on a black marble base. Weight 28 lbs - 13 kg.

"Ariel" vase attributed to Olle Alberius for Venini. Sweden 1987.

Paolo Venini's 18th century enspired apothecary jars, Compotes. Model 4740 (red): 46 cm high with acid stamp signature and original papèr label. Model 4742 (grey): 46 cm high. Model...

JAGET ET PINON factory in Tours. Baluster vase with long necks and three handles in brown enamelled earthenware with gilt and copper decoration amid pl...

Rogier Vandeweghe established himself as a self-employed ceramist in Sint Andries, near Bruges, after leaving the PerIgnem ceramics workshop founded in 1947 with his brother Laurent....

Art Deco Bronze Sculpture by Jean Ortis " NU FEMININ ACCROUPI" Statue en bronze à patine brune représentant une femme nue accroupie. Signée "J. Ortis", avec le cachet du fondeur, "S...

Hornbills are strange and beautiful birds, often incorporated in local cultures. In Africa, they are respected by people and involved in mythology and folklores. These birds are not ...