Brussels - Decorative Objects

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 ...

Silver tested but not stamped.

Ciconia vase by Cosmin Florea Unique piece Dimensions: W 14 x D 31 x H 66 cm Materials: Stoneware Please note that this item is handmade and therefore unique; variations are to...

Dove vase by Cosmin Florea Unique piece Dimensions: W 40 x D 15 x H 45 cm Materials: Stoneware Inspired by my love for pristine nature, this sculptural vase...

Val Saint Lambert Crystal glass centrepiece dish, Belgium, circa 1960s. Oval shaped blue to clear glass dish. Signed on the base. In excellent condition.

Swedish antique pine hand build wooden kitchen cabinet. Made to be used as a dough plater storage to the left side and a storage to the right side. Fine quality of wood. It is a true...

Ivan et Chantal Wolkoff. sculpture in lucite brass, metal and gemstone, quartz and pyrite. signed by the artist on the lucite and the metal.

Low Travertino silver vases Dimensions: Diameter 15cm x height 16cm Materials: Travertino Marble. Silver Vein. Technique: Hand-crafted, natural finished. About: Bicci de’ Medici...

Brutalist set composed of an ashtray, a paper press and a candleholder in cast aluminium.

Josef Hoffmann a “flower basket”, Wiener Werkstätte, 1906

Sommerso vase by Flavio Poli for Seguso Vetri D'Arte, circa 1960s.

Alfio Mongelli (Rome 1939) Scomposizione Matematica - ABC 75,3 x 65,5 x 10 cm steel and wood 1980 Steel sculpture on wood; label indicating the title and the author at the bottom r...

Piero Fornasetti "Libri" model basket, circa 1950, Italy. Vintage edition. Cat, mouse and books decor, brass border, blue-green interior. Dimensions:28 cm H , 25 cm diameter. Origina...

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...

Black Marble Ashtray by Angelo MANGIAROTTI, Italy

Mid-Century Modern Pair of Travertine Bookends by Fratelli Mannelli, Italy, 1970

“Sphere”, bronze sculpture by Ado Chale. The bronze sphere features subtle undulations that add to its character and appeal. The smooth surface of the bronze catches the light, high...

Miguel Berrocal ( 1933-2006) "Mini-Cariatide", signed and numbered.

Vintage austrian cut glass crystal diamond shaped table clock. The clock mechanism is by Steiger Quartz. The glass is made and labeled by F Kissling...

Ceramic Sculpture

Hand Blown Murano Glasss Frame

Small Art Deco brass cat box Karl hagenauer, Brass, Austria.   

D: 12 (7) cm H: 13 (5,5) cm W: 22,5 (16,5) cm

Blue Fruit Bowl "Model 1419" by Max Ingrand for Fontana Arte, 1960s

Murano Glass obelisk by Paolo Venini, Venini Murano Italy (Founded in 1921). Clear glass obelisk. Inclusion of “ballottino multicolore” decoration. (decoration of twisted multicolore...

Mid-Century Modern wooden wall unit "Extenso" by Amma, Italy, 1970s.

Swedish antique pine and birch wooden butter storage box . Fine quality of bentwood. It is a true piece from the early 19 century. Hand graved 1882 inside the lid. Nice addition in...

Mid-Century Modern Art Deco Table Clock, Murano Glass, 1950s.

"Scozzese" vase 4595 by Fulvio Bianconi for Venini, 1954-1957.

Mid-Century Modern Ice Bucket by Aldo Tura, circa 1960, Italy.

Murano glass vase by Flavio Poli, Seguso Vetri d’Arte. Generously sized vase, conical in shape. In sommerso glass, the bright red body covered with transparent yellow glass. Color va...

Vase and ashtray by Carlo Nason for Mazzega, 1976.   

Griffin head Italy, 16th century On a modern metal stand Measures: 20 x 29 x 21 cm (without the stand) The griffin is a legendary creature with the body of a lion, the head an...

Mid-Century Modern Japan Bronze, 19th Century

Large Liberty Wooden box, Wood and Mother of Pearl, Italy, 1900s

Marble lion white marble France, probably Périgord, 17th century Small marble lion wearing a coat of arms pendant with the engraved date, ...

Nice mid-century decorative vase, 1966, France. Sandstone signed 'JJP 66' under the base. Dimensions: 25 cm H, 28 cm W, 15 cm D. Good original condition. All purchases are covered by...

Memphis style red ceramic vase - Italy by Florio Keramia.

French Stone Horse Head Monogrammed SW

Penguin Travertine Sculpture by Fratelli Mannelli, Italy, 1970s

Mid-century decorative red marble dish or vide-poche, circa 1960, Italy. Dimensions: 21 cm diameter, 4 cm H. Good original condition. All purchases are covered by our Buyer Protectio...

Elegant Showa period Japanese Seido Bronze vase. Engraved signature at the bottom. Nakajima Yasumi, also known as Yasumi II, learned traditional metal techniques from his family tha...

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...

Italian black marble cup/ashtray by Angelo Mangiarotti, 1970s.

White ceramic bear by Stellmacher Teplitz, 19th century Ceramic biscuit.  

Swedish antique pine hand carved wooden barrel. Made to be used as a grain storage. Fine quality of wood. It is a true piece from the early 19 century. Beautiful patina on the inside...

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 ...

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 ...

Memphis style white ceramic vase - Italy by Florio Keramia.

Frosted Glass Sculpture "Lion", Lucienne Bloch, by Glasfabriek, Netherlands, 1929

A free blown, cased glass, facet cut Art-object “Prisma”, model KF 249, in blue, yellow and green hues. Designed by Kaj Franck in 1953 and executed by the Nuutajärvi-Notsjö glassworks, Finland in 1963. These vases were made between 1954 and 1968 in four different sizes ranges, this example falls within the medium/large size range. This "Prisma" is in good condition. No cracks or chips and only some minor scratches. It is fully marked underneath the base in diamond pen...

Swedish antique pine and birch wooden butter storage box . Fine quality of bentwood. It is a true piece from the early 19 century. Painted blue and faded trough time. Nice addition...

Søholm ceramic vase made of clay with various shades of colors. This is a very elegant vase from the artist Joseph Simon. ________________________________________________________...

The present vase is originally created by Josef Hoffman, the most famous designer of the Wiener Werkstatte. In the 1980s, the Italian design editor Bieffeplast decided to revive some...

Nice decorative pair of candlesticks, circa 1960, Italy. Brass and blackened metal. Dimensions: 18 cm W, 24 cm H, 18 cm D. Good original condition. All purchases are covered by our B...

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...

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...

Vase Skyscraper model by Claude Dumas circa 1980, France. Black ceramic. Signed Claude Dumas Made in France underneath. Dimensions: 20 cm H, 18 cm W, 9 cm D...