Brussels - Decorative Objects

“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...

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...

Set of large planters / decorative vases by dutch company Mobach. Strong and heavy in light various tones of beige and brown. __________________...

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...

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

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...

Midcentury Glass Vase by Charles Graffart for Val Saint Lambert, Belgium, 1950s.

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...

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

Hand Blown Murano Glasss Frame

Sculptural decorative paperweight, circa 1970, France. Gilded bronze. Dimensions: 11 cm W, 8 cm H, 2 cm D. Good condition. All purchases are covered by our Buyer Protection Guarantee...

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...

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...

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 ...

Nice Guillaume Met De Penninghen antropomorphic vase, circa 1950, France. Black enameled sandstone. Dimensions: 32 cm H, 14 cm W, 8 cm D. Rare ceramic in good original condition. All...

Étienne-Maurice Falconet (1716-1791), "The Bather" or "The Nymph Bathing" (1757) Artistic Explanation: The Nymph Bathing is a masterpiece of 18th-century French sculpture, created...

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...

Elegant pair of bronze candle sticks from the end of the 17th century from Italy Beautiful appearance and good quality with small traces of wear which make their charm Very beautif...

Sculptural antropomorphic candlestick, circa 1970, France. Polished gilded bronze. Dimensions: 25 cm H, 8 cm diameter. All purchases are covered by our Buyer Protection Guarantee. Th...

Superb offering dish in brass from the end of the 16th century/early 17th century circa 1600 from Nuremberg-Germany Very beautiful large offering dish with a rose sculpture in its ce...

Murano glass vase by Mario Pinzoni, Seguso Vetri d’Arte. Low wide vase with a rounded profile and a slightly flared rim. Made of sommerso glass, the transparent olive green body is s...

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 ...

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 ...

Series of 3 bowls in powerful white glaze by master ceramicist Wilhelm Kage. It’s a series he worked on int he late 1930’s. The idea behind those pieces is to cut them then reassembl...

Elegant carved wooden horse from the 19th century in polychrome wood from England Very beautiful movement which has a lot of charm Beautiful patina The dimensions include the bo...

Rare basin (We think it was the basin to wash the feet on hollyThursday) in brass Rare plat of the german renaissance since it is rather a basin which is much rarer than a offering basket...

These candleholders were 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 of brass...

Group Of 5 Earthenware Musician Cherubs, Late 19th, Early 20th.

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...

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...

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

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...

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...

Bronze mortar with garlands, flowers and putti - Tuscany , second half of 17th century. Measures: height 10 diameter : 13 cm Artisans and healers used mortars for grinding food...

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...

Imposing Louis XIV brass chandelier from France Beautiful look and superb quality decorated with angels and acanthus leaves. Large model Height excluding spade 1m02cm France 1, ...

Eugenio Carmi (1920-2016) "Segnale Immaginario Elettrico 23" artwork, 1970, Italy. Black, white, multicolor plexiglass light box. Turns off and on again at regular intervals (more or...

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...

Elegant pair of bronze candlesticks from the end of the 17th century from Italy Beautiful turning and fine quality little difference of the pikes (see pictures) Delivery in Belgiu...

Memphis Style Ceramic Vase by Florio Keramia, Italy

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...

This cylinder vase was produced by the manufacture " Céramiques Décoratives de Hasselt " for Gustave Serrurier-Bovy, circa 1905. This model was used for the brass, copper and mahogan...

A rare set of three sculptural candleholders of varying sizes, attributed to the Dornach workshop in Switzerland and inspired by Rudolf Steiner’s anthroposophic principles. Crafted c...

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...

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...

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...

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...

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. 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...

Mosaici blown glass vase by Rodolfo Dordoni, Venini Murano. “Mosaici” vase in transparent blown glass with a quadrangular shape. Composed of an arrangement of green, blue, and white ...

Rare pair of monks from the 18th century-Ayutthaya-Thailand Superb pair of large lacquered and gilt bronze monks very beautiful face and expression ...

Rare Jean Legros (1917-1981) sculpture, composition, 1976, France. Wood pannel painted on both sides, yellow-black and red-green. Signed and dated undersid...

Untitled No. 42 Vase by Marea Hildebrand Handmade Dimensions: D 43 x W 43 x H 40 cm Materials: Stoneware with slip. Marea Hildebrand (b. 1989) is a Zurich-based ceramic artist with...

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.

Paul Chambost egg shell ceramic vase, circa 1950, France. Dimensions: Height 20 cm, diameter 14 cm. Good original condition. We ship worldwide  All purch...

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...

Handle in the Shape of a Devil’s Head
 Patinated bronze 
France, 19th century 10 x 7,5 x 9 cm This unusual bronze handle takes the expressive form of a devil’s head, with exaggerate...