Brussels - Decorative Objects

Set of five “Pulcini” glass birds by Alessandro Pianon. Rare set of five blown glass birds resting on their hammered copper legs. These are th...

“Cannabis” or “The World of Plants” by Line Vautrin, gilded bronze box. “Finely chiseled gilt bronze box, the lid depicting a central plant whose leaves, veins, and roots radiate sym...

Delightful and rare Scheurich & Greulich Keramik horse figurine desk clock labeled S&G Keramik Germany. Both 'Ks' on the silver foil Keramik label has red rings indicating this is a ...

Mid-Century Murano glass horse with original silver foil label attributed to Archimede Seguso circa 1960s. Smoked grey glass, delicately formed and in excellent vintage condition. No...

Unique vase made by or in the manner of Axel Salto. Beautiful glaze and details. There's various shades of brown and greens. Will fit any interiors, a true beauty. Axel Johannes ...

Vase “Post Moderno” Gianni Versace for Venini Murano, Italy (founded in 1921). Beyond his renowned fashion creations, Versace also collaborated with prestigious furniture and access...

Schatz Germany 8 Day domed mantle/desk clock. Beautiful kinetic movement. Made of solid brass with a detachable lucite acrylic and brass domed cover. Ideal as a mantle or desk clo...

Swedish antique birch hand made wooden bowl. Made to be used as a dining dish / plate. Fine quality of handwork. this is are true piece from the early 19 century. Beautiful patina o...

Delightful Murano glass tall stoppered decanter by Antonio da Ros. Large sommerso glass vase with the original 'Venetian Art Glass' silver foil label. The stopper alone measures 32c...

“Le lion” gilt bronze compact by Line Vautrin. Gilt-bronze compact depicting a stylised lion’s head in relief, surrounded by small arrow-like marks. This motif belongs to the talisma...

Elegant Murano glass vase for Venini, circa 1970, Italy. Red and pale pink opaline . Dimensions: 36 cm H, diameter: 17 cm . Good condition, with is original round Venini sticker. All...

Rare Art Deco nightstand water carafe and his glass, circa 1930, France. The glass is the cap of the bottle. Black glass and geometrical silver and blue lines decor. Dimensions: 24 c...

“Heureux parmi la foule” (Happy among the crowd), silvered bronze box by Line Vautrin. Generously sized silvered bronze box. The lid carved with a decoration of a multitude of faces,...

Extraordinary vintage 1950s large copper centrepiece dish. Featuring a burst of multicoloured lava bubble with a textured surface. This is a good sized dish, ideal for coffee tables ...

“Fiji”, Murano Glass vase by Fulvio Bianconi, Venini, Italy. Cylindrical blown Murano glass vase with thick cased walls, distinguished by a subtly faceted rim forming a diamond-shape...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

Claude Victor Boeltz Letter Holder , circa 1970, France. Gilt exploded bronze, metal blade. Dimensions: 16 cm W, 10 cm H, 8 cm D. Boeltz’s "exploded-bronze" pieces, made famous in th...

“Informale” Vase, Murano glass by Fulvio Bianconi. Blown Murano glass vase with a free and organic silhouette, characteristic of the Informale series developed by Bianconi in the lat...

This series of Vases was hand crafted in the 1970's and 1980's at the Skultuna studio were Pierre Forssell was working with his assistant. The vases is made of brass. Simple, minimal...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

Fratelli Brambilla is the manufacture which produced the vase designed by Angelo Mangiarotti in the 1960s. Old sticker of Frattelli Brambilla is there but not holding .The mark is ap...

Sculpture of a bird in blown glass, composed of an orange glass sphere with a textured surface evocative of the bird’s plumage. The eyes are rendered with two hot-applied murrines. D...

Emile Louis Picault (1833-1915) « LE TRAVAIL » bronze statue The bronze statue 'Le Travail' by Émile Louis Picault is much more than a mere work of art. It embodies the very essence...

Wilhelm Kåge (1889-1960) is one of the most well-known representatives of the illustrious Swedish ceramic design of the 20th century. This piece is signed with sticker "Gustavsberg A...

Nice limited edition Hella Jongerius Africa model vase of the 2005 PS Jonsberg Collection for Ikea in small edition. Terracotta, white pastilles decor. Dimensions: 35 cm H, 30 cm dia...

16 Stones Sculpture by Pol Quadens Unique Piece. Dimensions: D 80 x W 80 x H 450 cm. Materials: Polished stainless steel. The production time for this piece...

Rare and beautiful picture frame by Mathias for Fondica, circa 1990, France. Stamped Mathias on the back. Leaves decor gilt bronze, glass. Dimensions: 30 cm H, 26 cm W, 18 cm D. All ...

Mid-century pair of Jardiniere planters & matching tall pedestal stands by Capo di Monte Italy. Two ceramic flower pots with two matching tall ped...

Monumental chunky glass duck by V Nason & Co Murano. Solid amber glass duck sculpture weighing approximately 3.5kg prepackaged. Still retains its original silver foil label. No damage.

Murano Glass Vase by Fratelli Toso, 1980s

Pair of Two Travertine Candlesticks by Fratelli Mannelli, 1970s

- The Artwork: This sculpture by Jean de Roncourt embodies a striking dramatic tension through the figure of an archer in full action. Kneeling, with a taut torso and prominent muscles, the man draws his bow in a gesture of controlled power. The dynamic, almost choreographic posture reveals a perfect knowledge of human anatomy, typical of the Art Deco movement to which de Roncourt belonged. The grey-patinated spelter confers an antique nobility...

Vase “Grenadine” designed by Gianni Versace for Venini Murano, Italy (founded in 1921). Beyond his renowned fashion creations, Versace also collaborated with prestigious furniture an...

Murano Glass “Inciso” Bottle (Decanter) with Stopper by Paolo Venini, Venini, Murano (Italy). Bottle and matching stopper in purple Murano glass, blown and finely cold-cut according ...

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...

Bacchus 
Southern Italy, late 17th century
 Alabaster Sculpture
 H: 20 cm A finely carved 17th-century alabaster sculpture of a naked Bacchus. This Italian alabaster figure depicts ...

Lovely 19th century burl walnut tea box from England. Very beautiful box with a beautiful brass decoration on its front and top. Superb pati...

Gorgeous malachite pocket scoop lined with brass from the 50's

Elegant tripode vide-poche Garouste et Bonetti Era, circa 1980, France. Patinated bronze in good original condition. Dimensions: 10 cm H, 10 cm diameter. All purchases are covered by...

Nice Odette Dijeux mid-century decorative box, circa 1950, Belgium. White and brown enameled ceramic. Signed underneath Odette Dijeux . Each piece of this artist is unique and po...

Paolo di Giovanni Sogliani (Florence 1455-1522) Processional Cross Florence, around 1515 Enameled, chiseled, engraved, stippled, and gilded copper; wooden core ; Inscription: "OPA...

“Inciso” – Murano glass vase by Paolo Venini. Large oval-section vase in “pesante” midnight blue glass with a darker layer. The exterior body completely incised with a wheel. Referen...

Vase “Frisage” designed by Gianni Versace for Venini Murano, Italy (founded in 1921). Beyond his renowned fashion creations, Versace also collaborated with prestigious furniture and ...

“Allez laissez couler les jours”, gilt bronze compact by Line Vautrin. Gilded bronze compact with a rebus-decorated lid, enhanced with hot-fired enamel, by Line Vautrin. The finely s...

This series of candleholders was hand crafted in the 1970's at the Skultuna factory next to the studio were Pierre Forssell was working with he's assistant. The candleholder is made ...

Swedish antique pine hand crafted wooden barrel. Made to be used as a washing basin or a grain storage. Fine quality of bentwood. It is a true piece from the early 19 century. Beaut...

Brown glazed bowl / vide poche by Swedish master ceramicist Stig Lindberg. From light brown on the edges to dark black. It is the Japanese tenmoku gl...

Cercle of Juan Martinez Montañés (1568-1649) Infant St John the Baptist Spanish, 17th century H 74 cm Saint John the Baptist is here represented naked, sitting on a rock, with...

Nice pair of David Marshall candlesticks, circa 1970, Spain. Cast brass and aluminum. Dimensions: 25 cm H, 11 cm W, 7 cm D. We ship worldwide All purchases are covered by our Buyer P...

1970s Mdina glass tall vase. Design by Michael Harris for Mdina glass, circa 1970s. Fire orange color with greenish appliqué stripes around the stem. Substantially sized at over 30cm...

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...

Brown glazed bowl / vide poche by Swedish master ceramicist Stig Lindberg. From light brown on the edges to dark blackVarious shades of blue. There's...

Swedish antique birch hand made wooden bowl. Made to be used as a dining dish / plate. Fine quality of handwork. this is are true piece from the early 19 century. Beautiful patina o...

Mid-Century Modern Silver Paper Weight & Paper Cutter by Christofle

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...

Roman Lion's Protome Sandstone Gallo-Roman, 2nd century AD - 3rd century Provenance : Private Collection Prof. Giesen (Konstanz on Bodensee), pré 1945 Most likely from the Chateau a...

Swedish antique pine and birch wooden flour box. All made by hand, the lid is perfectly adjusted to the barrel. Fine quality of bentwood. It is a true piece from the late 18 century ...

“Tout ou Rien” (“All or Nothing”) by Line Vautrin, silvered bronze box. A “toutou” in familiar french language is a dog. It’s inscribed “RIEN” on the necklace, introducing the expres...

This refined 1970s Italian vide-poche is crafted from thick stacked Lucite accented with golden metal details, offering a sleek and sculptural presence. The central concave dish — al...

Set of 5 unique roots candles by Jeremy Descamps. Unique pieces. Materials: candles in solid oak from the country burned in flam, inserts in brass, support of candles in brass. Di...