Belgium - Decorative Objects

A French Primitive mortar in sandstone dating from the 17th century.

A wonderful 16th century draped female torso in classical style. Made in France under Italian Renaissance influence this female torso is finely sculpted with great detail to the stol...

A tall and heavy elmwood mortar; 17th or 18th century. Antique Plant Cover Coffee Table Wabisabi. Measures: Diameter 40 cm. Height 46 cm.

Grand Tour Cinerarium Limestone, inlaid with ancient fragments of Franco-Italian 18th Century and Roman, 3rd Century AD Provenance: Private Collection UK Private Collection France, ...

A Captive Soldier Gilt Bronze, Lost Wax Italie (Rome), 17th century H 17 x Dia 10 cm H 6 2/3 x Dia 4 inch The 17th century witnessed a flourishing of artistic expression across Eur...

Large Cast and Chiseled Bronze Plaque Saint Sebastian after the model by Guido Reni (Capitoline Museum) Rome, 17th century Large rectangular bronze plaque depicting the martyrdom of...

Head of a crowned Virgin Île-de-France, first half of 14th century. H26 x 14 x 14 cm Provenance : - Private Collection, Paris France (1960) - Private Collection Tuscany, Italy (19...

Two Saints In Polychrome Wood, Portugal, 17th Century Size 1:1

Monumental sculpture representing the Venus Pudica (Medici-type) 18th Century Italian (Rome) White marble Based on a model from Antiquity, the Medici Venus, currently in the Uffizi ...

Plateau with two breasts, attribute of Saint Agatha Southern Italy, 17th century Polychrome and gilded wood 20 x 14,5 x 15 cm Born into a noble lineage, Agatha came into the world ...

Telamon Northern Italy, late 12th - early 13th century Reemployed Roman marble H 32 x L 18 x P 17 cm « Sono coloro che hanno dimenticato che l’uomo é solo un bruco, destinato a dive...

a very elegant spanish polychromed wood santos figures with articulated hands ... pure poetry ...

Belgium / 1800s / antique / ceramics / pot / brown glazed A Belgian Ceramic Pot from the 1800s, a timeless piece that combines elegance and functionality. This large brown pot with...

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

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...

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...

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...

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...

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

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

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 ...

Glass mounted in gilded brass and glass paste imitating semi-precious stones.

Very beautiful pair of bronze candlesticks from the 17th century from France Very beautiful pair in bronze Claw feet Beautiful filming

niche in gilded wood from the 17th century from Italy Lovely niche with a carved wood in its center from the Italian Renaissance Beautiful original gild wood Dimensions excluding ba...

16th Century Bust of Roman Emperor Julius Caesar in bronze with brown patina.

Pair of antique agate cameos on mother-of-pearl on horn in gilt brass Louis XIV style frame. Provenance : Collection vente YSL

Bactrian alabaster chalice, circa 3000-2000 BC. It has an elegant tapering formed base with a undeep rimmed cup. The alabaster is strikingly vained. ...

Italian Memento Mori skull Marble North of Italy, 17th century H 9 x L 7 x P 14 cm At the turn of the 16th century, they were the height of fashi...

Louis XIV style bust of a man in armor. France, Late 17th century Alabaster on a griotte red marble base Base diameter 7 cm Bust width 8.5 cm

Standing Roman emperor Germany, 17th century Bronze and marble base

Rare romanesque capital with sirens France, XIII century Limestone 25 x 28 x 22 cm This finely carved Romanesque capital, executed in high relief from limestone, features four hyb...

Spanish Renaissance candlestick in brass circa 1600 Beautiful patina and in very good condition

A terracotta bust "Ecce Homo" Florence, 15th century 53 x 44 x 31 cm

Callipygian Venus 19th Century Italian (Naples or Rome) White marble After the Antique: Naples Archaeological Museum (IT) Roman version of a Hellenistic 3rd Century B.C. model Height: 62 cm Width: 22 cm H 24 1/2 x W 8 2/3 inch The Callipygian Venus, also known as the Aphrodite Kallipygos or the Callipygian Venus, all literally meaning “Venus of the beautiful buttocks”, is an Ancient Roman marble statue...

Antique 17th Century Chinese porcelain - Ceramic covered vase Origin: China, Period Late Ming, approx 1630 - 1645 Form - Octagonal balus...

two rose marble Spanish mortars, 18th century, one is 24 cm in diameter and 16 cm high, the other one is 21 cm in diameter and 14 cm high ... sold together ...

A early 17th century French Gargoyle. Gargoyels were originally intented as waterspouts for churches and castles but soon were used as ornamentation. A...

Extra large this brass cooking pot, sublime patina, was used to Cook turkey .

Pair of Candlesticks, Louis XVI, Gilded Bronze and Griotte Marble

This 18th century Italian pharmacist's mortar is a unique piece of its kind. The warm color of the marble type is rare and reflects the beautifully carved ears. An elegant representa...

18th century wooden Madonna with child (South-Europe). Exceptionally well-preserved, given the age.

Leather trunk Spanish, 17th century Boiled Leather, wood and iron Measures: 22 x 53 x 32 cm. Provenance : - collection Metz-Noblat, Château de Clevant, France Rectangular trunk of the form and size of a small suitcase with wrought iron hinges and lock-plate. Wood, covered with leather, cut and embossed with every surface of the thick cow hide covered in interlace, zoomorphic features. The construction method is boiled leather, often referred to by its French translation cuir-bouilli: a process used to change flexible, vegetable-tanned leather into rigid, moulded objects. For shaping of the vegetable-tanned leather, heat and moisture were used, as indicated by the term boiled leather. No written medieval sources describing the production of decorated cuir bouilli objects survive, so knowledge of the process relies on the important studies of the Scottish leather historian John William Waterer. A large range of methods, materials and techniques could be used in various combinations. The vegetable-tanned leather, made supple with moisture and heat, was stuffed, shaped and nailed to the rigid wooden coffer support. The stuffing material was probably modeled beeswax or stearin wax. To shape the leather, to create its topography, « Cushions » were made by lacing a thread through an awl hole and attaching the flexible leather and stuffing to the rigid wooden support on the bottom. Then the decoration was done: lines were incised through the upper layer of the leather (epidermis) with different thicknesses of knives or needles. Contours were created with deep v-shaped cuts, decoration with thin incision and final details with a needle point. For the incision and pouncing stage, the leather was probably kept heated and moistened for suppleness. Once dry, the leather would be hard and rigid. the saturated leather is worked over a form, possibly even damp sand, with the pattern shaped using bone or wooden tools. Compare to metal, leather was lighter and it offered protection from cuts and punctures. Cuir bouilli objects were produced by specialist leather workers and needed skillful craftsmanship. The surface is filled with roundels shaped foliages enclosing animals, lions and peacocks. The foliate arabesques creating a vegetal connection tweet the animals create the impression of a lush verdant space . The vegetal pattern here employed in combination with geometrical pattern came from the pre-islamic artistic traditions of the Byzantine and Sasanian empires. An aspect of Islamic geometry Is the basic symmetrical repetition and mirroring of the shapes that create a sense of harmony. The decoration of this truck is inspired by the islamic « arabesque » a form of vegetal ornament composed of spirals, intertwining plants and abstract curvilinear motifs. An arabesque character is given to the birds of the decorations through extreme stylisation. This arabesque maintained the classical tradition of median symmetry, freedom in Detail and heterogeneity of ornament. The presence of the peacocks is a paradisiacal allusion: in popular Islamic literature they were among the original inhabitants of the garden of Paradise expelled with Adam and Eve. Peacock as a decorative motif may have originated in the West, despite their eastern provenance. There was an ancient belief that the flesh and feathers of peacock do not decay. This led to the peacock becoming a christian symbol for Christ’s resurrection. Renowned for their decorative wall hangings, seventeenth-century Spanish leatherworkers also produced utilitarian objects, such as this trunk. A similar trunk is on display at the Metropolitan museum of art ( 09.158.1). Related literature : Davies L. 2006. Cuir bouilli. Conservation of leather and related materials, 94-102, Oxford: elsevier Butterworth-Heinemann Grabar, Oleg. The Mediation of Ornament. Princeton: Princeton University Press, 1992 Gabriela Germana Roquez, "El mueble en el Peru en el siglo XVIII...

A 5 drawer hand painted and hand crafted 18th century Italian Box.

A fine longclock from the end of the 18th century circa 1780 in oak by the watchmaker Charles Robotham of the city of Leicester Very beautiful English clock The clock has its o...

A nice example of a gogotte formation composed of thick swirls and folds of sparkling sandstone. Discovered in the Oligocene sand dunes of Fontainebleau, France, formed circa 30 mill...

2 Italian contemporaries solid silver candlesticks altar Church candlesticks Style: Rococo, Italian, Antique, Louis XV, One of it can be converted to a candelabra Each on a shaped c...

Marble Roman relief representing a Christogram Roman relief - 4th century 25 x 22 x 8 cm Provenance : Collection of the Château de B. À Nevers by Georges C.S., scholar born in 1833 and deceased in 1909 The entire castle and its collections were acquired in 1938 by the current owners of the estate A christogram is a monogram or combination of letters that forms an abreviation for the name of Jesus Christ. This rare fragment combines chi (X) and rho (P), the first two letters of Christ's name in Greek and it is one of the oldest and most popular early christian symbol. The monogram of Christ, or chrismon, is also a powerful symbol of imperial victory: it appeared to Emperor Constantine the Great before his battle against Maxentius in ad 312, promising victory in the name of Christ. In Plato's Timaeus, it is explained that the two bands which form the "world soul" (anima mundi...

Elegant bronze mortar from the 17 century from Italy dated 1630. Really rare mortar due to his big size. In very good condition and beautiful patina.

A pair of Italian 18th Century Candle-holding Archangels, sculpted wood with its original wings.

Gothic canopy France, 15th century Alabaster, some traces of polychromy 33 x 23 x 20 cm Provenance: - Private collection Genève, Switzerland ...

18th century Dutch silver scent box On top a Depiction of Vice Admiral Zoutman The victor of the Dogger Bank Battle Made by Dirk Hoep 178...

Engaged Romanesque capital representing Daniel in the Lion’s den France, 12th century Limestone 38 x 29 x 18 cm Provenance : Private coll...

Agnolo di Polo (Firenze 1470 - Arezzo 1528) Saint Nicholas of Tolentino Around 1510-1520 Painted and gilded terracotta 55.5 x 24 x 16.5 cm San Nicholas de Tolentino is represe...

A impressive late 18th century French sandstone sundial mounted on a custom lade iron stand. The Latin numerals finely carved at both sides an...

A polychrome sculpture depicting the Virgin and the Child Mosan region, second half of 13th century Polychrome wood 73 x 29 X 12 cm Provenance : Former Belgian private collection from the beginning of the 20th century This remarkable early artwork portrays the Enthroned Virgin and Child, also known as Sedes Sapientiae, which translates to the 'Seat of Wisdom...

Very large feminine head crowned by a tiara Roman period, 3rd - 4th century AD Eastern provinces of the Roman Empire (Palmira?) gray basalt H 55 cm Old collec...

Russian Carved bone table box Carved bone table box North of Russia, 18th century 12,5 x 23,2 x 7 cm Rectangular box with a wooden core in bone veneer...