Brussels - Decorative Objects

This French Earth globe, attributed to Jacques Adnet, is a stunning decorative piece that blends artistry with craftsmanship. Made of plaster with raised polychrome decoration, it fe...

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...

Italian Brutalist Travertine Rhinoceros Sculptures by Fratelli Mannelli, Italy, 1970s.

Elegant little carved wooden horse from the 19th century in polychrome wood Very beautiful polychromy which has a lot of charm Old child's toy with the front wheels which moves ...

Gothic canopy France, 15th century Alabaster, some traces of polychromy 33 x 23 x 20 cm Provenance: - Private collection Genève, Switzerland ...

Pair of Two Travertine Pisces Candlesticks by Fratelli Mannelli, 1970s

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 crabe Padua, 18th century bronze 2 x 10 x 7 cm (One of the crab’s legs is missing its end) This finely cast bronze sculpture of a crab reflects the enduring interest in natur...

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...

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...

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

Head of a crowned Virgin Île-de-France, first half of 14th century. H26 x 14 x 14 cm Provenance : - Private Collection, Paris France (1960) - Private Collection Tuscany, Italy (19...

A set of 3 silver plated pieces, all stamped Galia & Christofle including the "Viking" vase. All designed by L. Sabattini. France around 1970.

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...

Renaissance Harpy bronze Italy, 16th century 15 x 12 x 5,5 cm This expressive bronze figure represents a harpy, a mythological creature with the body of a bird and the head and tor...

Roman Lion's Protome Sandstone Gallo-Roman, 2nd century AD - 3rd century Provenance : Private Collection Prof. Giesen (Konstanz on Bodensee), pré 1945 Most likely from the Chateau a...

JEF LAMBEAUX (1852 – 1908) Bronze Statue "THE DANCER WITH CASTANETS" . Imagine a sculpture that transcends mere representation to capture the very essence of movement and passion. "...

Study of a Satyr Bronze, cast using the lost-wax (cire perdue) method Italy, early 19th century 14 x 7 x 10 cm This evocative bronze sculpture represents a satyr, the half-human, h...

A terracotta bust of Christ as The Redeemer Tuscany or Emilia Romagna, late 15th century Measures: 46 x 43 x 21 cm This powerful, moving bust of...

Base of a carved wooden candelabrum, polychrome and gilded; cross painted on both sides. Umbria or Tuscany, 16th century 136 x 43,5 x 30 cm (The cross and the base of the candelabrum were later assembled) The base of the candelabrum is intricately carved and adorned with polychrome and gilded finishes. The shafts take on the shape of balusters reminiscent of ancient columns, feature ornate foliage decorations, garlands and winged cherub faces. The feet are crafted in the likeness of lion paws. The base is further embellished with depictions of four saint martyrs, among them Saint Barbara and Saint Catherine of Alexandria. The plasticity of the figures, outlined with strong contour lines, the clear and vibrant colors, are stylistic elements linked to the Umbrian tradition of the sixteenth century.The precisely defined and elegant drawing, along with the clear color palette applied with refined chiaroscuro modulations, became the signature of a style that would leave a lasting mark on the era to come. This is exemplified by a preference for vibrant, multicolored images, accentuated in this case by the use of red and pink in the saint's attire. A notable addition, introduced later, is a polylobed cross painted on both sides. On one side, the Crucifixion is vividly portrayed:The treatment of the corpus itself is in line with High Medieval practice, emphasizing pathos by showing Jesus dead, his arms sagging from the weight of the body. The upper section displaying a pelican pecks at her breast to feed her young with her own blood; a symbol of the sacrifice of Christ on the cross whose body and blood similarly nourishes the celebrant during Mass. The lower part depicts Golgotha. On the reverse side, the Resurrection is artistically presented in a Renaissance iconography, reminiscent of the renowned composition painted by Piero della Francesca, now housed in the Civic Museum of Sansepolcro. In terms of composition, with the frontal depiction of Christ holding the banner, this motif became particularly widespread in central Italy, spanning from Tuscany to Umbria throughout the 16th century.. The double-sided construction suggests that it may also have been carried in liturgical processions. In Umbria from the 14th century, the use of portable crosses painted on both sides had become a widespread practice, aimed at satisfying the monastic clientele that had significantly increased following the establishment of new religious communities. The earliest surviving Tuscan painted crucifix represent Christ as Christus Triumphans, or the “Triumphant Christ” with his head up and eyes open. This form was supplanted in the 13th century with the Christus Patiens, or “Suffering Christ” type who is shown often with his head fallen on his shoulder and his eyes closed, as In our cross. The iconography of the suffering Christ appears to have developed out of a new interest in Christ’s human nature, the development of the feast of Corpus Christi and with increased importance given to the Eucharist. The process of humanizing the figure of Christ reaches its peak with the abandonment of all the previous expressive conventions in favor of more realistic details we can observe in this Crucifix, such as the swollen belly, the arms stretched to the limit of muscle tearing, the body falling heavily forward, the abundant blood on the wounds, and the cross firmly embedded in the rock of Calvary. It's worth noting that Renaissance candelabra...

'Life Future' is the œuvre of the South Korea sculptor In-Chul Hwang. As shown in the documents added, this unique piece has been made for a belgian couple in the 2000. Very good ...

Memphis Style Ceramic Vase by Florio Keramia, Italy

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

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...

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...

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

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...

Side Cubes by Pol Quadens Limited Edition Of 24+4 Pieces. Dimensions: D 30 x W 60 x H 60 cm. Materials: Polished stainless steel. Pol Quadens was born in Brussels. His father was a...

Large Terracotta relief of the flight into Egypt Lombardy, first half of 17th century Painted terracotta 91 x 85 x 11,5 cm This event in the early life of Christ is recounted i...

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...

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...

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...

Renaissance Winged Cherub Relief
Florence, Second Half of the 15th Century
Stone with traces of polychromy Provenance: Important private collection, Northern Italy This exceptional...

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...

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

Carved oak sculptural head Monogrammed Dated 1973

Exceptional pair of aigles of the 16th century of Italy Superbe pair of wooden sculpted aigles from the Italian Renaissance. Very Fine and delicate sculpture The pair of eagles se...

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...

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

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...

Amour roi de ton coeur (Love King of Your Heart) by Line Vautrin , Silver Bronze Box. Silver-plated bronze box with a lid enhanced with a decoration representing a two-tone wheel, th...

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

Bronze Sculpture " Cowboy on his horse" by Paul Sersté, Belgium

small mother-of-pearl box

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...

Followers of Jean de la Huerta, Jean de Blany ? Saint Jerome Limestone Burgundy, second half of the15th century 60,5 cm ALR Ref : S00248050 This exquisite sculpture of Saint Jerome, carved from soft, nearly white limestone typical of eastern France, exemplifies the exceptional craftsmanship of 15th-century Burgundian art. The figure of Saint Jerome, a key figure in Christian history renowned for translating the Bible into Latin, is depicted wearing a cardinal’s hat and holding the Vulgate Bible...

Iron Sculpture By Robert Michiels, Belgium, 1960s

1950's Stitched leather basket Very rare piece

Nice Baccarat crystal and Jacques Adnet liquor bottles set, circa 1930. In perfect and original conditions. With key.

Elegant 19th centuryletter rack or stationery rack from France It is unusual to find them with their original key. Very nice interior beautiful pati...

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 ...

Dutch Tobacco Jar Netherlands, 19th century 23 x 15 cm Georgian Dutch Tobacco Jar. Made from different woods, this ring turned Jars show a very nice patina.

AFTER A MODEL BY GIAMBOLOGNA (1529–1608)
 Pacing Bull
17th century
 Bronze, on an ebonised wood base H totale 15 x L 11,5 x P 8,2 cm Since antiquity, the bull has been venerated as ...

Large base of molded hexagonal pilaster in burgundy stone carved with vines, grapes and rosettes in high relief. Burgundy, 15th century 28 x 63 x 30 cm Provenance : collection De...

Mid-Century Modern Vase by Thérèse Bataille for Dour Belgium

Italian School, 18th century Pacing Horse Bronze with brown patina, on a rectangular marble base H 8 x L 8,5 x P 3 cm H totale 11 cm

Butter plate by Marta Bonilla Dimensions: D9 x H9 cm Materials: Metal Butter plate: Piece modelled by hand, enamelled with matte white enamel and de...

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 ...

THE WORK: This metal sculpture, titled Miroir (Mirror), signed Auguste Moreau, depicts a young woman in a rustic dress, with her arms raised, arranging her hair. Her graceful postur...

Paire of huge 1960s candlestick designed by Max Ingrand