Antiques in Brussels

Mid-Century Modern Italian dressing table, teak, 1960s.  

Mid-Century Modern Chrome Desk Mirror

Chaise modèle Eva dans son état d'origine. Daté de 1941, elle a passé toute sa vie dans la maison d'été d'une famille suédoise ou elle a été lentement décolorée par le soleil. La couleur d'origine est visible au revers des sangles. Chaise extrêmement bien préservée et très rare dans cet état. Produite dans les ateliers de son père Karl Mathsson...

Lovely corner cupboard from the Georgian period in oak circa 1800 small unusual model composed of a door with shelves inside. Very nice molding work on the door Superb patina and in ...

Rare set of 6 Italian dining easychairs with brown wood structure and cream leather seat. Very comfy !

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...

Table lamp by Maison Charles Model Lotus in original conditions, stamped on the base "Made in France Charles". Perfect condition.

Achille And Pier Giacomo Castiglioni, "Cocoon" Suspension, Circa 1960 Achille Castiglioni (1918 - 2002) and Pier Giacomo (1913-1968) were born in Milan where, together with their br...

A modernist cuff bracelet designed by famous danish silversmiths Anni and Bent Knudsen. Marked: BENT K - sterling - Denmark - 288 Bent Knudsen (1924-1997) was trained as a silversm...

Olga Engel is a successful Russian product and interior designer, who harmoniously mixes luxury with minimalism, functionality and ergonomics with a light mood and a touch of irony. ...

Gothic Limestone frieze decorated with curly foliage North of France, 14th-15th century 59,8 x 15,6x 22 cm This French Gothic limestone frieze, adorned with curling foliage, stands ...

Teardrop pendant lights for Temde Leuchten by Goffredo Reggiani, with opalescent glass that diffuses a soft light. Goffredo Reggiani (1929 - ) founded the Reggiani Illuminazione com...

Superb pair of English chairs called "Hall chairs" from the early 20th century circa 1900 Art Deco style These chairs were in the past placed i...

Mid-Century Modern Wood Pepper Mill by Peugeot, 1930s

Olympias Chandelier by Gobo Lights Dimensions: D 12 x W 210 x H 110 cm Materials: Brass, opaline. Weight: 1 Kg. Self-taught and from the world of chemistry, this Belgian craftsman...

Delightful mid-century Italian glass pendant ceiling lamp by Mazzega circa 1960s. Large sized Murano blown glass sunflower shaped lampshade. With amber orange rim and clear textured ...

Mid-Century Modern Italian Ceiling light attributed to Séguso, Murano Glass, 1950s.

Mid-Century Modern armchair and ottoman by Franz T. Sartori, Flexform, 196.

18th century German Baroque chest of drawers, walnut.

Nice pair of bronze lamps with a dark patina. Tripod base with lions paw. One light each. In the style of Bill Blass. Lampshades are optional. France around 1920.

An iconic Egg Chair by Arne Jacobsen for Fritz Hansen, dating from the 1960s, accompanied by its original ottoman. This classic set has been fully reupholstered in premium cognac lea...

Cozy armless lounge chair, ideal for creating a comfortable seating arrangement in your living room. Featuring a solid wood frame with a warm, natural finish, this chair exudes a rus...

Untitled No. 49 Vase by Marea Hildebrand Handmade Dimensions: D 32 x W 32 x H 37 cm Materials: Stoneware with slip. Marea Hildebrand (b. 1989) is a Zurich-based ceramic artist with...

These lamps are a creation of Christophe Gevers, a famous Belgian interior architect. He worked on quite a number of private homes in Belgium and France, some restaurants, like the f...

The loss of craft at its purist form due to economic circumstances of the last centuries. Going back to basics in a chaotic world where social media takes over. Where expectations an...

Saint John the Evangelist and the Virgin from a Crucifixion Group, Spain, circa 1500, in walnut. Superb pair of gilded and polychrome wood sculptures from the late 15th century, circ...

Attributed to Domenico di Paris, also called Domenico del Cavallo ( Monselice, documented in Ferrara between 1442 and 1501) Madonna and The Child Polychromed and gilded Stucco 47,5 ...

Mid-Century Modern "Okay" Sofa by Adriano Piazzesi, 1960s Adriano Piazzesi was a renowned Italian designer born on November 4, 1923, in Florence, Italy. He was a visionary who revol...

Group of altarpiece representing the life of a Saint, Saint Renualde? Engraved by the sign of Antwerp hand on the hat of the central character Carved oak, traces of polychromy Fir...

Mid-Century Modern Wrought Iron Wall Decoration, 1960s

large 17th century turned apothecary's ivory mortar and pestle Germany 17th century Cites certificate number IT/CE/2023/MI/01110 18,6 x 7 cm ; pestl...

Set of 4 Harvey Guzzini square wall lamps - Italy 1970s

Mid-Century Modern Orange Two-Seater Sofa, Italy

Mid-Century Blue Table Lamp by Carlo Nason for Mazzega, 1960s

Inca Console Table by Angelo Mangiarotti for Skipper, 1970s

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...

Arthur’s passion and dedication to process inspire him to constantly discover new manufacturing techniques and innovative shapes that he brings to life through hand-picked materials ...

The desk by Elmar Flototto from circa 1980 features a beech wood structure paired with a brown formica surface, showcasing the Profilsystem design. Its natural beech construction exe...

Antoine Giroux: Capturing the Vibrancy of the Mediterranean Born in Brussels in 1955, Antoine Giroux's journey to artistic expression took a unique path through the realms of music ...

Superb Flemish Renaissance bronze pot from the 16th century. Superb patina and in very good condition.

Pair of Burgundy Leather Barcelona chairs by Mies Van Der Rohe for Knoll, 1990s

Mid-Century Modern Italian bar in the style of Borsani, wood and glass, 1950s.

Flower Shaped Mirror by Max Ingrand for Fontana Arte, Italy, 1960s

Mid-Century Modern Bench by Emilio Lancia, Italy, 1930s

Olga Engel is a successful Russian product and interior designer, who harmoniously mixes luxury with minimalism, functionality and ergonomics with a light mood and a touch of irony. ...

Modern white gold 18 Karat ring. The ring is set with a center pear shape blue Ceylon sapphire of approximately 4.40 Carats, two pear shape diamonds for a total of approximately 0....

Carved oak sculptural head Monogrammed Dated 1973

Memphis Style Ceramic Vase by Florio Keramia, Italy

Mid-Century Modern Cactus Coat Rack, Italy

Ring set with a "GEM REPORT ANTWERP" natural non-heated Ceylon Sapphire of 3.10 Carats and 0.59 Carats full-cut natural diamonds (H/I color - Vs clarity). The ring is set in 18k wh...

Pair of gilt metal minimalist side tables with a black formica top. France, 1970.

A striking example of late 20th-century European design, this Model G console table was produced by Belgo Chrom, a Belgian manufacturer celebrated for ...

Modern Sculptural Wall Lamp – Minimalist Lighting with Chrome Accents Modern sculptural wall lamp, a perfect blend of minimalist design and futuristic elegance. The lamp features a ...

Pair Of Painted Sheet Metal And Brass Wall Lights, 20th Century

Sigurd Persson : a rare gold modernist cuff bracelet Rigid, open bangle with openwork geometric decoration in 18ct gold. Stockholm 1963. Executed by the goldsmith Johann Wist. Sigu...

Contemporary dining table, travertine, Italy.

Brass Side Table, Belgium, 1980s

Pair of brass ceiling lights, Italy, circa 1960.  

Late 18th-Century Chest, Veneered with Walnut and Austrian Ash

Mid-Century Modern Wooden Coffee Table by Osvaldo Borsani, Italy