Brussels - Decorative Objects

Pair of paperweights in the shape of pebbles, circa 1970, France. Gilded bronze. Dimensions: pebble one: 9 x 8 x 3 cm, pebble two: 8 x 7 x 3 cm. All purchases are covered by our Buye...

Nice Mid-century decorative bronze vide-poche, circa 1960, Italy. Polished gilt bronze, sculptural abstract decor. Dimensions: 12 cm W (4,72 in ) x 12 cm D x 2,5 cm H (0,98 in). Orig...

J’ai perdu ma tourterelle (I lost my dove) by Line Vautrin – Box in silvered bronze. J’ai perdu ma tourterelle (I lost my dove) Box in silvered bronze by Line Vautrin. Large silvered...

A cut crystal inkwell inserted in a massive architectural beige marble base. Probably Italy around 1890.

Monumental mid-century Flygsfors Sweden 'Coquille' centrepiece glass bowl by Paul Kedelv, circa 1960s. Huge sommerso glass pink bowl with a frosted pink exterior and deep pink interi...

Pendant by Miguel Berrocal (1933-2006).

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...

Head of a crowned Virgin Lorraine, first half of 14th century. H26 x 14 x 14 cm Provenance : - Private Collection, Paris France (1960) Private Collection Tuscany, Italy (1980) Ex...

This series of drinking cups with the matching flask/carafe with was hand crafted in the 1970's at the Skultuna factory next to the studio were Pierre Forssell was working with he's ...

Japanese Bronze vase from Showa period made by master Nakajima Yasumi II. Comes with its original signed tomobako (wooden box). Engraved signature at the bottom. Nakajima Yasumi, al...

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 ...

Gothic Corbel France, 15th century limestone 36 x 44 x 45 cm This imposing culot, carved in stone and dating from the fifteenth century, exemplifies the expressive vitality and imag...

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...

Charles Piguet (1887 - 1942) pair of wrought iron candle holders, circa 1925, France. Wrought iron. Original patina. CP monogram for Charles Piguet on each piece. Dimensions: 30 cm...

Untitled No. 47 Vase by Marea Hildebrand Handmade Dimensions: D 38 x W 38 x H 32 cm Materials: Stoneware with slip. Marea Hildebrand (b. 1989) is a Zurich-based ceramic artist with...

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 ...

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...

Nice Art Deco couple of doves, circa 1930, France. Ivory crackle earthenware. Good original condition. Dimensions: 45 cm W, 27 cm H, 16 cm D. All purchases are covered by our Buyer ...

Brown glazed bowl / vide poche by Swedish master ceramicist Stig Lindberg. From light brown to dark brown. Elegant details and nice pattern. Unique p...

Mid-size white Surrea vase by Wilhelm Kage, Swedish Modernism, 1940s The Surrea collection is embodied by white, Carrara glazed ceramics that feature offset forms. As the name of th...

vintage paperweight in Murano glass, 1970

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

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...

A monumental example of Murano blown glass, this piece reveals a rhythm of irregular horizontal bands that flow across its surface. Shades of blue, green, red, and black alternate in...

An attractive art deco Belgium stoneware jardiniere planter by Atelier Bouffioulx, Armogres, circa 1930s. Huge planter vase depicting a greek horse drawn chariot. The horses and char...

Louis Thomas Jérôme Auzoux (1797-1880) Skinned Human anatomical Model Paris, around 1850 135 cm In the 1820s Louis Auzoux, a French medical graduate ...

This ‘Kaloric’ travel iron, designed in 1956 by Raymond Loewy, embodies the direct legacy of American streamlining while continuing the evolution of Art Deco trends. Made of Bakelite...

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...

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...

L’étoile à pleuré rose, gilded bronze vide-poche by Line Vautrin. Rectangular in shape with subtly irregular edges, this rare gilded bronze vide-poche is engraved in relief with a po...

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...

Creation by Gunnar Nylund (1914–1997) during his tenure as artistic director of Rörstrand from 1932 through the 1950s. The vase has a glossy white glaze over a rough rustic body crea...

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 ...

Untitled No. 53 Vase by Marea Hildebrand Handmade Dimensions: D 39 x W 39 x H 38 cm Materials: Stoneware with slip. Marea Hildebrand (b. 1989) is a Zurich-based ceramic artist with...

PIERRE FORSSELL. Candlestick, “Variable” Brass, removable arm height approx. 17x9x4cm. wear and tear, marks.

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

PIERRE FORSSELL. “Bow” Skultuna Candlestick, brass Height approx 13,5cm. Minor scratches, discoloration. Pierre Forssell (1925–2004)

Sculpture "Mother and child" by Marthe Donas, Plaster, 1910s

Fruit platter in terracotta by Marta Bonilla Dimensions: D22 x H25 cm Materials: Terracotta , clay. Fruit Platter in terracotta: Low temperature hand modeled piece.Kkeeps the na...

Beautiful Claude Victor Boeltz Letter Opener , circa 1970, France. Gilt exploded bronze, metal blade. Dimensions: 24 cm W, 5 cm H, 7 cm D. Boeltz’s "exploded-bronze" pieces, made fam...

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...

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...

“La Dame à la Licorne” (The Lady and the Unicorn), silvered bronze box by Line Vautrin. Crafted in silvered bronze, this rectangular box features a highly poetic relief design. On it...

MICHEL RICO (b. 1946)
Untitled, 1979
 Welded bronze proof with nuanced patina
 Signed and dated on the reverse
 Mounted on a natural wood base
 50 x 36 x 10 cm This circular sculptu...

Small reclining lion in finely chased bronze Italy, 15th century Traces of gilding H 4,8 x L 6 x P 2 cm Delicately worked bronze depicting a lion in repose, characteristic of early ...

Mid-Century Modern Tray

Heavy resin skull, nickel -plated. Signed and dated Y.D.89 at the base.

Jewelry Box by Ria and Youri Augousti, United Kingdom, 1995

Rare Vallauris ceramic vase By Jean Marais, Model "4 visages", Signed and perfect condition.

18th century Grand Tour Cinerarium Limestone, inlaid with Roman marble fragments and fresco's Annotation of finding spot indistinctively written on the fragments ("forum trajan","for...

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...

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 ...

Nice Mado Jolain vide-poche ceramic, circa 1950, France. Enameled white earthenware, pale creamy yellow, grey and black decor. Signed underneath. Dimens...

Large pair of silver-plated pewter candlesticks from the Jugendstil period, designed by Achille Gamba. Germany, early 20th century. Each candlestick features a stylized geometric and...

Large Marble Sculpture by Angelo Mangiarotti for Skipper, Italy, 1980s

The Good and the Bad Thief Brabantine workshop, c. 1480–1490
 Carved walnut with traces of polychromy
 56 x 42 x 11 cm 58 x 43 x 11 xm Provenance: 
Formerly in the collection of Ca...

Rare Bronzes Depicting two Figures in Turkish Attire Possibly Suleiman the Magnificent at two different ages bronzes, alabaster bases Venice, early 17th century 19,5 x 6 x 5 cm These two rare bronze statuettes represent two figures dressed in elaborate "Turkish" attire. They are mounted on alabaster bases with bronze reliefs—one featuring the winged lion of Venice, and the other possibly symbolizing Turkey with a wolf depiction. One figure wears a grand külah, a spherical turban with a cone top, signifying royal authority, while the other has a wrapped turban, denoting rank and religious identity. Their garments are richly detailed with intricate engravings, suggesting luxurious fabrics of the Ottoman court. The statuettes may represent Suleiman the Magnificent at two different stages of life, as both young and old. The sultan depicted alongside the winged lion corresponds to a description from a Venetian delegate in 1534, when Suleiman was 43. At that time, he had conquered Iraq from the Safavids and achieved a decisive victory over the Papal fleet at the Battle of Preveza. He was described as having large eyes, an aquiline nose, and long red mustaches—traits visible in Cristofano dell'Altissimo’s portrait of Suleiman in the Uffizi Gallery in Florence. Unlike Mehmed II, who commissioned portraits by European artists for diplomatic purposes, Suleiman did not directly order such representations. Instead, his likeness spread through works by artists like Albrecht Dürer, based on sketches made by diplomats. Following his capture of Belgrade in 1521, his victory over Hungary in 1526, and his siege of Vienna...

Untitled No. 52 Vase by Marea Hildebrand Handmade Dimensions: D 24 x W 24 x H 19 cm Materials: Stoneware with slip. Marea Hildebrand (b. 1989) is a Zurich-based ceramic artist with...

Victor Joseph Ghislain Demanet (1895-1964) "The Hammerer". We are delighted to present a work of rare emotional and technical power: "The Hammerer" by Victor Joseph Ghislain Demanet...

“L’altruisme est amour” (Altruism is love) by Line Vautrin, gilt bronze box. Gilt bronze box, the lid finely chiseled with a rebus. The rebus can be deciphered as follows: * The ins...