Brussels - Decorative Objects

Jef Lambeaux (1852-1908) “THE SOWER” Artistic Description: "The Sower" depicts a vigorous young man, bare-chested, in the act of sowing seeds. The sculpture captures with precision...

Sculpture – Faraona (Guinea Fowl) in murrine resting on bronze legs by Toni Zuccheri. Murano blown glass sculpture executed in the murrine technique, designed by Toni Zuccheri for Ve...

Tray by Alexandre Noll Signed 'A Noll' on the back Walnut

“Juliette” by Ettore Sottsass, vase-sculpture in Sèvres porcelain. Vase-sculpture in Sèvres porcelain, created during the first collaboration between the Master and the Manufacture b...

Fragment of an Inscribed Stone
 France, 15th century
 Limestone
 14 × 24.5 × 5 cm This evocative limestone fragment preserves the refined vestiges of a Gothic inscription carved in ...

Exceptional altarpiece representing the annunciation circa 1600, fruitwood rare altarpiece from the North of Portugal, unique due to its large size representing the scene of the annunciation, where the Archangel Gabriel (represented on the bottom left), sent by god (represented on the top left) announces to Marie (bottom right) that she will give birth to Jesus. Very good state of conservation, carved on three panels Dimension: Height 1m51 Width 1m03 Very nice colour and exceptional dimensions Restorations of use We placed the altarpiece on a red velvet base and a Spanish occasional...

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

Fratelli Brambilla is the manufacture which produced the vase designed by Angelo Mangiarotti in the 1960s. The shape is irregular, free. See mark and old sticker.

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

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...

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...

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

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 ...

Important sculptural Claude Victor Boeltz table centerpiece, circa 1980, France. Gold-plated bronze and white quartz. Dimensions: 38 cm W, 20 cm H, 30 cm D. Good original condition. ...

Christ
 Umbria, Orvieto?
 Second half of the 15th century
 77 x 16.5 cm

Superb 18th-century black marble mortar with its pestle. The beautiful marble has a superb patina and is engraved "GP" underneath. This mortar is quite rare as it is sculpted and inc...

With a keen interest in the uncomfortable relationship between intimacy and voyeurism, Middernacht & Alexander thrive on investigating the psychological aspects of everyday life. Per...

“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...

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...

“Inciso” by Paolo Venini, Murano glass vase. Large blown-glass vase with a finely cut surface using the inciso technique, emblematic of Paolo Venini’s work in the 1950s. Its slender ...

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

a fine 19th-century English silver-plated and oak tray. A beautiful piece with two handles. Superb oak with a magnificent patina and a central silver-plated medallion. In perfect con...

Abstract bronze sculpture from France with a beautiful patina. Please do not hesitate to contact us for any additional information. We would be delighted to assist you in any way we...

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...

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...

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...

Pair of Renaissance Alabaster Columns Attributed to Cornelis Floris de Vriendt Flemish, Mid-16th Century 
Alabaster 
H: 27 cm; D: 10 cm This refined pair of all’antica alabaster col...

Modernist bowl by Jean Despres, circa 1930, silvered metal.

Rare and poetic Mithé Espelt "Bird" ceramic vide-poche/ baguier, c.1968, France. Gold, ivory, black enameled and cracked earthenware. Dimensions: 11,5 cm W, 11,5 cm D, 2 cm H. Beauti...

Rare and Large Imperial Black Porphyry architectural fragment partially polished, 23,5 x 15 x 12 cm Porfido Nero is a rare Black Variety of Imperial Porphyry from Gebel Dokhan (th...

Untitled No. 48 Vase by Marea Hildebrand Handmade Dimensions: D 36 x W 36 x H 33 cm Materials: Stoneware with slip. Marea Hildebrand (b. 1989) is a Zurich-based ceramic artist with...

Mid-Century Bronze Sculpture by Magrit Van Nuffel, 1970s

Murano glass vase by Mario Pinzoni, Seguso Vetri d’Arte. Generously sized vase with an inverted conical shape and flattened top, topped by a short cylindrical neck. Made of sommerso ...

Renaissance Fragment: The Grotesque Candelabrum
 Italy, 16th century
 Marble 29 x 21 x 12,5 cm This fragment of a white marble pilaster constitutes a remarkable testament to the orn...

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...

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...

Hispano-Moresque Mudéjar Bone-Inlaid Walnut Chest
 Spain, 16th–17th century 
Walnut, bone inlay, iron fittings
 44.5 × 30.5 × 18 cm This rectangular walnut chest, richly ornamented ...

Efeso Vase, designed in 1964, Ercole Barovier Ercole Barovier was born on Murano, an island near Venice, in 1889. He began working in his family's glass workshop at the age of 20 an...

Untitled No. 45 Vase by Marea Hildebrand Handmade Dimensions: D 29 x W 29 x H 32 cm Materials: Stoneware with slip. Marea Hildebrand (b. 1989) is a Zurich-based ceramic artist with...

GUSTAVE VAERENBERGH (1873-1927) Bust in Alabaster and Gilt Bronze "JEANNE D'ARC" (end 19th century-early 20th century) - THE WORK: The alabaster and gilt bronze bust of Joan of A...

Rare architectural Corbel with Foliate Mask known as "Green Man" France, 14th century Limestone 16 x 35 x 12 cm Architectural fragment in grey limestone, featuring a relief anthropo...

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...

small mother-of-pearl box

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...

Luna by Ettore Sottsass “Luna” Blown glass vase resting on a marble base by Ettore Sottsass. Very pale green glass vase resting on a gray veined white marble base. From a limited edition of 29 copies. Our example designed and manufactured in 1997 and bearing the number 1/29. Lit. : Marino Barovier, Sottsass: Glass works, 1998, p.108. Our example designed and manufactured in 1997 and bearing number 1/29. Signed with diamond point “venini 97 Ettore Sottsass 1/29”. Original transparent plastic label holder...

Bronze Sculpture in black patin circa 1920 (mother and child) by Marthe Donas Signed (MDONAS). Marthe DONAS is an artist born in Belgium in 1885 and died in 1967, The Belgian artist...

An elegant mahogany writing slope from the English Navy, featuring brass decorations typical of this type of furniture. Beautiful brass ornamentation includes corner brackets and rei...

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...

This mid-century style snail sculpture by Camilli Sergio is crafted from semi-transparent fiberglass, embodying the design principles of the era with its organic form and warm amber ...

A striking German made Mid-Century Modern sunburst wall clock. Crafted in brass and dating to the 1960s. Distinguished by its sculptural radiating form, beautifully brushed circular...

Untitled No. 54 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...

ravissant angelot en bois sculpté du 18° siècle d'époque Louis XV anciennes traces de polychromies qui lui donnent beaucoup de charme

The free-flowing curves and organic forms found in nature have long been central to my artistic inquiry and serve as primary sculptural elements in my work. The Flow series is one ex...

Cav. F. Palla, Marble Sculpture "Vénus Accroupie", Italy, 19th

Fragments from a Large Relief of Saint Hubert and the Stag
 Northern France, c. 1400–1420 
Limestone 
56 × 42 x 16 cm and 56 x 37 × 16 cm These finely carved fragments—showing a ric...

Large Asian rice pot of rounded form, crafted from painted wood and lacquered in a deep black finish. The body is decorated with hand-painted panels depicting a family of elephants ...

Sculptural horse in glass by Pino Signoretto, signed by the artist, Black glass from Murano. Pino Signoretto 1944-2017 Murano art glass sculpture. One of a kind.... circa 1980.

Black Marble Ashtray by Angelo MANGIAROTTI, Italy

Large chimney Art Deco plaster. The base is black lacquered with extensive patina. The woman is laying with a swan and a bowl. The were originally white painted but now it is more li...

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...