I have been traveling in Europe these days and every time I stop in this continent I have the duty to go to Brussels and pay a visit to my parents who have been living  there for a little  more than a quarter of a century.

At the airport, looking distractedly on a magazine a small note catches my attention “At the Musées d’Art et d’Histoire du Cinquantenaire in Brussels,  you will have the opportunity to check the exhibition Medici by artist Isabelle de Borchgrave”

” For some 15 years Isabelle’s paper exhibitions have traveled the world. Everywhere, from New York to Tokyo passing through Venice and Istanbul, the magic produces its effect…causing wonderment at the transformation of a simple sheet of white paper.

It is a meeting through the centuries with one of the most prestigious families in Italian history: the Medici. Through the magic of trompe l’oeil, Isabelle walks us through history and aesthetics. 29 paper costumes showing the elegance of the times in minute detail, and giving new life to the painting of the great masters such as Botticelli, Bronzino or Gozzoli.”

Having read this note I decide to check on Isabelle  as soon as I arrive to Brussels . If I recall she is acquainted to my parent

On my arrival home, I have no words to describe my mother’s happiness learning that I have made plans to stay for a while in the city and work on the brand new project: the Brussels Edition. In exchange for my prolonged stay,  I would need her collaboration  including being my personal driver and  some information about how to reach Isabelle de Borchgrave.

Deal consumed with my mum , on the following early morning of my arrival, I receive a phone call from a young lady named Priscilla , Isabelle’s efficient assistant.

She lets me know that an opening is available in the afternoon for an interview with the busy artist at her notorious studio at rue de Lens in the elegant and  green neighborhood of Ixelles , apparently  a few minutes walk  from my parent’s house.

Extremely exited I check my camera battery, read all the material I manage to find in the internet and after a quick lunch head to the mysterious entrance door of what seems to me the preparative a  Rio De Janeiro Escolas de Samba in peripheral area of the glamorous city a few hours before the carnival parade at the Sambodromo. ( Isabelle by the way, did not share my same enthusiasm when I exclaimed to her my comparison, Some things in life you must experience by yourself)

Isabelle is on the phone and with a short ‘ half smile’ tells me in French ‘ Je suis a vous dans une minute “-” I am ‘ yours’ in a minute.” – I decide I already like her.

In the meantime, my eyes scan every single details of the cluttered and majestic studio , my mind, curious, is intrigued by suspended papier -mache mannequins in very bright and colorful costumes, all made of wire, each adopting a dance pose, none of them touching the ground.

On the other side of the studio young men and women possibly interns,  are busy painting large pieces of paper in ethnic and interesting geometrical patterns as others carefully with the aid of powerful hairdryer make sure the paint gets a good adherence . Seems that everyone and all activities are very well orchestrated peacefully aligned with the silence of a music that through those mannequins clearly translate into a certain explosion.

Suddenly at my back, I hear the voice of a beautiful and tall Priscilla introducing herself obviously at my rescue:- “Les Ballet Russes ! “- she says with an elegant smile – “  Miss De Borchghrave is working at the moment on one of her next and most impressive exhibition inspired by the celebre master Diarghlev.”

” In Isabelle de Borchgrave’s view – she carries on after politely thanking for my visit- “on the les ‘Ballets Russes’ constitute the most beautiful way to bring together painting, music, dance, stage and fashion.

When Diaghilev left Russia for Paris together with his Company he brought together huge talents such as Picasso and Goncharova, Nijinsky, Bakst or Derain.

The Parisian public, not used to this new form of classical dance, would discover Diaghilev and all the Russian and French talents he brought together. Much later Béjart would come back to this” Priscilla explains .

Priscilla  shows me around Isabelle’s latest creation of ethnic jewelry in paper and gold soon to be world-wide distributed by a lady socialite in Jaipur , and  paper lace used as  luxurious never- ending ‘voil de mariee’ ( a veil to go with the wedding dress) The veil is light and pretty and has stenciled spots with a roller.

“for harsh economic times” Priscilla states proudly when finally Isabelle  appears dressed with a simple burgundy sweater, her hair an unruly mix of short curls,  jeans and an Prussian blue apron visibly showcasing uncounted hours of a life over paints, brushes and turpentine.

She looks  at me for a second as curious about me as I am towards her. There is a short silence between us as we both don’t know where to start our encounter from….The Fortuny costumes, my shoots of the studio, her portraits, the interview, the mannequins.

I decide instinctively to look around Isabelle’s domain in silence ,

this studio filled with  small aluminum boxes containing  naturally tinted pigments, hundred of lively and used paint brushes neatly organized in ceramic containers, pastels, palettes, vases, kaftans, dresses, jewelry boxes, kimonos, chandeliers un-finished sketches on canvases, and all sorts of  striking Trompe-l’oeils on paper translate into an atmosphere  where I feel compelled to impulsively experience the sense of touch wishing to establish for myself the boundary between  illusion and reality in such a magnetic aphrodisiac  environment.

“Are those  panels made of textiles or paper? ” I finally ask as to break the ice between us…Isabelle smiles and then laughs with a hidden impatience,  it’s a question she heard thousands of times before.  I don’t mind,  like everyone else , I surrender to fall into the same spell of everyone… the spell of a queen who needs to be different from any other textile creator on earth…

” Why I work these motifs on paper rather than textile? ” she repeats my question as wanting to gain some extra time before she answers with a daring lie :”Because in the case I make a mistake, I can start all over again”. But Isabelle never makes “mistakes” she has far too much experience, what she does, almost answering to a distant call of duty,  is to immortalize  history, a history crowded with  splendor of kings , queens and mythical figures to the subtle , modern , almost untouchable reality of our daily life.

And here she is proud, throwing on top of the long table,  hundreds of colorful painted panels made up of paper destined to ” wrap  bacon at Butcher’s shops” before falling into her daring imagination.

Her assistants working ‘hours and hours and hours’ of painting, playing, scrunching, gilding and gluing to transform plain paper into a dress that evokes a red, pleated  textiles. Isabelle through this collection , inspired by works of Mariano Fortuny, reveals the eclectic early 20 th artist to whom she feels so close. A she throws herself into the world of Mariano Fortuny absorbs it and transmits her feeling revealing all the facets of this extraordinary talent.

Once more she seeks to express the timeless beauty of the past, the research of refined tones, colorful lines, exotic motifs and shapes recalling Arab, Persian, Chinese and Japanese inspiration.

By creating a collection of dresses in paper inspired by this artist whose name will forever be associated with the wonderful art of ” plisse“ Isabelle, was fortunate to have had the opportunity of exhibiting her creations at the Fortuny Palace in Venice, the very place where the master lived and created his splendid dresses.

I ask Isabelle about  her  world wide licences. Party ware for the American chain-store Target, which includes a comprehensive range of place cards, chair covers, plates, centre pieces and serving bowls, all made of paper. She licenses her illustrations to Designers Guild, Villeroy & Boch and the French porcelain manufacturers Gien Libeco in Belgium, and Beauville ,Pierre Frey in France.

About  her mural paintings at the Cipriani Hotel in Venice, Gstaad and Kuala Lumpur. Her interior decors, like the Hermes windows in Hong Kong and personal exhibition of paintings and paper collections among the most prestigious museums in the world . She was also, most extraordinarily, commissioned to recreate Jackie Kennedy’s wedding dress for the Kennedy archive in Boston.

A fortuitous meeting with the period costumier Rita Brown, who was working with the opera in Brussels, and a close perusal of Janet Arnold’s seminal Patterns of Fashion series, resulted in the Papier à la Mode collection. It covered 300 years of historical fashion, featured some 80 paper dresses and has been on display in the Victoria & Albert Museum in London, the Royal Ontario Museum in Toronto, in galleries in Japan and Istanbul, and in São Paulo in Brazil. De Borchgrave painted the paper with delicate traceries of lace and Brown constructed the dresses. ‘

Isabelle is visibly bored with the interview, she is obviously looking for something new, and I am under the impression that she sees in me the ‘ something” that will connect her to a different experience all together… She laughs now and says  ” Would you please organize something fun for me in New York City? I want to sell my creations to the Soho scene  . Can you work that out?”

I leave the studio with an enormous responsibility, the royal family in Belgium dares to wear her paper creations at important parties… An interesting idea comes to my mind… but whatever I will suggest for Isabelle better be big and innovative , after all she’s unmistakably a queen.

Joelle’s Tips:

The artist: Isabelle de Borchgrave

The publication: Paper Illusions: The art of Isabelle de Borchgrave by Barbara Stoeltie (Author), Rene Stoeltie (Author) other publications

Exhibitions:

	D’or et de parchemin, Wibald de Stavelot, Abbé d’Empire Stavelot – Abbaye de Stavelot – http://www.abbayedestavelot.be/hp/fr/hp.asp Exhibition from 25/09/09 to 29/11/10 In the 12th century the abbey of Stavelot, one of the most important in the German empire, had an unprecedented influence. This was due to its abbot, Wibald.The exhibition entitled “Of Gold and Parchment” brings to life Wibald and his time through some exceptional pieces. For this occasion Isabelle de Borchgrave has created costumes inspired by the period which will be viewed in the exhibition.
	I Medici: A renaissance in paper by Isabelle de Borchgrave Brussels – Musées d’Art et d’Histoire du Cinquantenaire Exhibition from 20/11/09 to 18/04/10 For some 15 years Isabelle’s paper exhibitions have travelled the world. Everywhere, from New York to Tokyo passing through Venice and Istambul, the magic produces its effect…causing wonderment at the transformation of a simple sheet of white paper. It is a meeting through the centuries with one of the most prestigious families in Italian history: the Medici. Through the magic of trompe l’oeil, Isabelle walks us through history and aesthetics. 29 paper costumes showing the elegance of the times in minute detail, and giving new life to the painting of the great masters such as Botticelli, Bronzino or Gozzoli.

Established in the heart of the Sablon area in Brussels since June 2006, Pierre Bergé & associés has embarked upon a new project by dedicating its space to the creation of a new gallery devoted to Design.

After having developed major sales in this domain and created a reputation as the leading auction room in Belgium,  Pierre Bergé & associés is focusing its new gallery on the world of contemporary design and 1910 to 1970  American vintage .  The exhibitions usually explore the work of an artist or shed light on a specific theme.

With a surface area measuring 200 m2, white walls and a mottled grey floor, the gallery welcomes several  of the most popular designers once a year. Parallel to its design gallery and auctions, Pierre Bergé & associés  initiated a design prize ,the Skieven. The prize was awarded for the first time in the second half of 2008 to first-year students from design schools  encouraged to present pieces that have never been shown in the market.

During my stay in Brussels, and luckily for me, the gallery is showcasing an exhibition on American and Brazilian design . Vintage Brazilian furniture of the 1960s is definitely part of the major references in today’s design this is the reason why I am sure, the auction after the show, will ravish Belgian design collectors and amateurs from all over the country.

As per advice of the very kind Marie Le Tallec the company’s associate attache press from Paris , I decide to go and check the several pieces of the  furniture that became so familiar to me during the 25 years I lived in Brazil. At Rio de Janeiro doctor’s offices, Sao Paulo cozy apartments  , beach properties in Ubatuba and fancy boutique hotels in Curitiba now in the heart of the Sablon in Brussels. The furniture of great quality is from major Brazilian designers such the legendary Sergio Rogrigues, Jorge Zalszupin , from the States Milo Baughman and Carlo Hauner among others.

Several intersting factors can be easily noticed ; the love and respect for the wood, as well a s the comfort and simplicity of shapes as to pay respect with pride to the environment and the expression of a national identity. The key words of these very special people is to defend strongly their national treasure,  Amazonas.

Therefore Imbuia, Palissander or Jacaranda often coming from recycling wood, have contributed to authentic creations made with an exceptional execution which has allowed Brazilian furniture to be internationally known, reaching the top.

Having said that, we though it would be interesting to link Brazilian vintage to the talented work of the studio Makkink and Bey. Recognised internationally for his creation guided by recycling, science and poetry, the studio works in a world where techniques and sciences meet the poetry of the object.

Olivia Roussev who is in charge of the Galerie tells me that Pierre Berge & Associes exhibitions are accompanied by a mono-graphic catalog, at the price shown on the label, which is sent to collectors before the inauguration of the event. A website also was created with the possibility of making online purchases.

Joelle’s Tips:

The Gallery: Pierre Berger & Associe – Grand Sablon 40 Grote Zavel,Bruxelles, B1000 Brussels + 32 (02)49 49 90 00

Every time I spend a few days in Brussels I like to pay a quick visit to the man,  the artist , the genius , that created impressive flower arrangements at my sister’ wedding in the beautiful Chateau Saint’ Anne.

And what is most incredible is that the storefront of his is floral emporium feels like a breath of fresh — and beautifully perfumed — air.

Once called “La Chemiserie Niguet”  the shop was designed by the master architect Paul Hankar at the beginning of this century, is without any doubt one of the most out- standing  jewels of Art Nouveau in the city with an elegant , austere and exotic paradoxical  touch of Japonisme.

This man, also a master of a kind, is called Daniel Ost and is considered by many as the world’s foremost floral designer and sculptor. Daniel has the unique ability to envision life through flowers and creates absolute beauty through his passion and art. He has fashioned his own world of astonishing floral designs, which have earned him a devoted international clientele.

Recently the art and fashion worlds have also become acquainted with the 53-year-old floral designer: he created the arrangements for the opening of the Palazzo Grassi museum in Venice two years ago and erected a wall of pink dahlias, gerberas, hydrangeas and lisianthuses as the backdrop to Dries Van Noten’s spring 2007 collection. A couple of seasons later, flowers of all shapes and colors bloomed in almost every major collection.

Many of Ost’s best creations are included in the books “Leafing Through Flowers” , ” Transparent“  “Invitations” . This modern-day Belgian has inverted the old masters’ logic. These arrangements seem impossible, and yet they actually did exist.

Daniel Ost is more famous in Japan than anywhere else in the world, as Ikebana, Japanese flower arranging, is a well-established art form there. “There, flowers are connected with spirituality,” he has been nicknamed  “The Bridge  “for his ability to blend Eastern and Western influences.

“In the West we use them in a purely decorative way, but in Japan they work with the flower’s soul to express not just beauty but ideas like death.” Still, he hasn’t been ignored by his countrymen.

Within five years of opening his shop in Sint-Niklaas in 1985, he was receiving orders from the Belgian Royal Family, in 2005 he opened his second shop in Brussels and it has received wide critical acclaim and has been highly successful.

The process of decay interests Ost. “I’ve always wanted to show flowers in their optimum moment, but now that I’m older, I also want to explore the beauty of dying,” he says. As if to balance this somber impulse, Ost occasionally designs lush landscapes. “I like gardens because they’re about growing rather than cutting.”

His wormlike rows of bushes, winding pathways and large branch configurations that sprout from ponds are as dramatic as his more intimate pieces, but Ost insists that they are merely a side interest. “I only do them in places I like and for people I like.”

His artistry is in demand by royalty, celebrities, and corporations and his installations, which last only a few days, are extremely costly, but the artistic value is absolutely priceless.

To experience the Floral World according to Daniel Ost is like stepping into another world highlighted by the finest colors, designs and floral smells.

Over the past 30 years Daniel Ost has cemented his reputation as being the maestro in creating simple elegance and is in demand on the lecture circuit throughout the world to share and show his floral vision.

As he recently told to Arnmand  Limnader a reporter from the new York Times section Style, and published: June 22, 2008 “I make things very hard for myself because everything I do must be professionally perfect,” says Ost.

This man who has been known to travel 900 kilometers to collect the materials for one bouquet whose creations involve an ephemeral balance of beauty, spirituality and ingenuity, should one thinking of him  as just man, an artist a genius or a sculptor ?

Joelle’s Tips:

The Floral Designer:

The Source:

Bouquets Photos Credits: Courtesy of Daniel Ost

” A work bearing my name without the need for my signature to be affixed to it”

Victor Horta

At the turn of the 19th century, Brussels went through a period of un-rivaled effervescence. The city was beautified under the impetus of King Leopold II,

new districts were divided into plots and turned into neighborhoods in formerly suburban municipalities such as Ixelles, Schaerbeek or Saint-Gilles, the boundaries of which tend to merge with those of the City of Brussels proper.

Naturally, the middle classes, merchants and artists opted to have their houses built in the style in vogue: Art Nouveau, also known in English as “Modern Style.”

This style was launched in 1893 by two architects, Victor Horta and Paul Hankar: the Tassel House and Hankar’s own private home were the first tokens of a new aesthetic.

The use of metal structures allowed the architects to indulge in amazing innovations, and to open out the facades and interiors to allow light to flood in. Three types of motifs tend to predominate: the arabesque, the floral or animal pattern and the feminine silhouette.

At the turn of the century, under the influence of the Viennese Secession, forms tended to become geometric, as circles were combined with squares with greater frequency.

Hundreds of houses, but also schools, cafés, and shops rivaled for originality. Craftsmanship in ironwork, wood, stained glass and mosaics attained the acme of quality.

The buildings of Strauven, Hamesse,Vizzavona, Sneyers, Cauchie and many others turned Brussels into one of the European capitals of Art Nouveau, alongside Vienna and Barcelona.

Whereas the blaze of Art Nouveau would burn bright for a dozen years or so before being followed by Art Deco, also very richly represented in Brussels, it still lives on in many streets of the Belgian capital.

And It’s on a sunny afternoon that I receive a phone call at  home from the Mr Charles Picque , the Minister- President of culture and tourism of  Brussels- Capital also responsible for the so called  BIP.  Mr Pique addresses to me in Portuguese with a warm intent, I imagine, of making my stay in the European capital of culture and tourism  very enjoyable.

”  Joelle”  – he says now in French – ” we are  glad to invite you to our  2009 and fifth edition of the Art Nouveau Biennale truly hoping that you will find our cultural event as well as others we carry in the city quite interesting! ”

I thought Belgian people were cold but honestly Mr Pique is so charming that I’ am definitely drawn to learn more , after a pause almost as a professional actor he carries on:  ” The circuit we are promoting at the moment is called  Voir et Dire Bruxelles. Miss Nastasia Sellens will call you to set a time for you to come and visit us here at the recently inaugurated PIB that I assure you , you will much appreciate.”

Arriving at this wonderful renovated classic building at rue Royale ,the Lloyd a former bank, a very pretty, young  and blue-eyed Nastassia comes in my direction with a large smile, fully equipped with a very organized and generous press kit, DV s and several well-designed brochures  and a  ‘ global passport’.

She introduces me to the president of  Voir et Dire Bruxelles ,Isabelle Paellinck also very charming and visibly at ease with her role. My Belkin voice recorder, a few pencils, my Mosleskine notebook, and here we go in a strenuous half hour questions-and-answers about everything I should, I should not, I could or not visits during my stay the city over the next three weekends.

After digesting the substantial amount of information delivered by these two passionate monsters of efficiency I realize that there are good and very bad news.

The good news are that through a passport I will be able to examine the theme of  “From Art Nouveau to Art Deco” offering me the unique opportunity to visit more than fifty  interiors of buildings in Brussels gems from the inter-war years,

many of which remain relatively unknown,  during these first four weekends of October. Among the most interesting architectural establishments and many splendid private mansions especially opened to the public, schools, industrial buildings, public buildings, more modest houses, hotels and shops and several of which have become part of  the ‘UNESCO World Heritage List’ in 2000.

The bad news, is that I will not be authorized to photograph the interiors of any of the buildings designed by Victor Horta due to extensive and complicated copy-right regulations inflicted by the Horta family heirs  to the public including the building owners.

Having received the news with  deep frustration, my immediate reaction was to smile at these two young women and leave.

How could I work on a Brussels Edition if I cannot photograph myself the Horta Buildings and bring to thousands  thirsty readers worldwide ? (Some of  the pictures you see in this section are from the hotel Hannon, a very beautiful interior by the way.)

But looking at reassuring  Nastassia and Isabelle, I realized of the importance of carrying on with the visit without worrying about this specific detail and focusing on the the importance of the such cultural and unprecedented event while understanding how these buildings have been preserved, inhabited and sometimes completely changed, while remaining remarkable witnesses to this priceless heritage.

Due to space and time restrictions, some of the interiors were only  accessible by prior reservation.

Among those: Maison et Atelier Horta, Hôtel Ciamberlani, Hôtel Solvay, Hôtel Max Hallet, Hôtel Otlet, old personal house of  François Hemelsoet, Maison Eugène Leman, Maison Cauchie Cauchie’s self designed home,

Hôtel Van Eetvelde, Maison Frison, (today the extraordinary Tribal Arts and Antiques J Visser ) Ancienne Banque D’outremer, Maison Autrique, Maison privée rue Van Hasselt, Maison privée rue Lecharlier, Maison privée avenue Duray et la Villa Beau-site, Maison privée rue Monrose, Hôtel Astoria.

During the four weekends we also had access to this remarkable extended list of fascinating landmarks: I have tried to insert as many links as possible, with to transport you into this not-to- be- missed experience if you are in Brussels next time.

To list a few: Demeuldre factory , Coperta Atelier and the beautiful iron structure of this 1810 porcelain factory, former Aegidium movie with his eclectic 1905 facade and Moorish-Style dance -hall, former personal house of Adrien Blomme

whose building is laid on a cental open staircase,

former Wielemans-Ceuppens brewery Gregoire House, Hannon Hotel Private House – rue Coenraets , Saint-Augustin church grandiose example of the Art Deco Style , Solvay Hotel Town hall of Forest,

Wielemans Hotel Former hotel of the Control of the Telephones and the Telegraphs prestigious Art Deco building that has High-quality interior offices, former Niguet store , Former RVS buildin and his superb stained-glass windows, , Former workshops of the Colpaert Master glassmaker , Hanse Office ,

Private House – rue Van Hasselt, Quaker House , Schools «La Ruche/Josaphat» designed by Henry Jacobs, Strauven House , three houses of Henri Jacobs,( absolutely beautiful)  Hostel Eugène  Leman Haus, Former printing house NIMIFI , Vaucquez Textile Shop ( now Belgian comic Strip Center).

Former building of Constancia Insurances , Former warehouse Wolfers Frères has a monumental staircase designed by Victor Horta, now a branch of KBC bank, Hotel Crowne Plaza -

Le Palace Hôtel with inspiration in the works of Gustav Klimt ,L’Archiduc , Medical Foundation Queen Elizabeth , Private House – rue F. Lecharlier , School Catteau -Victor Horta ,Tavern “L’Espérance” , Wine palace,

Blerot House along with other houses in the street,brings together beautiful elements of flowers and some period furniture, Boelens House, Delune House ,

Flagey – Former building of INR,( Newly inaugurated trendy cultural center) Former masonic lodge, Former overseas bank, Former warehouse Old England (MIM), Palace “La Folle Chanson“,Villa Bea (Charming facade). Finally, I wanted to include in this itinerary a  19th century,  construction techniques, with the use of metal and glass as construction materials, made a new type of building possible: the greenhouse.

In 1873, architect Alphonse Balat designed for King Leopold II a complex of greenhouses which complement the castle of Laeken, built in the classical style. The complex has the appearance of a glass city set in an undulating landscape. The monumental pavilions, glass cupolas, wide arcades that cross the site like covered streets, are much more than an anecdote on the architectural applications of iron and glass or on little greenhouses of exotic plants.

Voir et Dire Bruxelles, (“Seek and Tell Brussels”) is a round-table group of the following themed cultural tourism associations: ARAU, Arkadia.be, Chatterbus, Itinéraires and Pro Velo. Each association has its own identity and specialism, which adds to the diversity of the round table.

Together, the five associations organize varied programmed of high-quality, themed, guided tours, either on request for groups throughout the year or for individual members of the public on fixed dates between March and December. Since it was set up in 1994, Voir et Dire Bruxelles has organized several joint-events, of which the most well-known and successful is the Biennial Art Nouveau Event.

Maybe I was not allowed in certain places to make use good use of my camera, but certainly tried and hopefully achieved to- Seek and Tell-  about the Art Nouveau and Deco loud and hidden atmosphere in Brussles to all those of you who have chosen to follow this post from different parts of the globe.. I truly hope you enjoyed the ride.

Joelle’s Tips:

The organizations: Voir e Dire Bruxelles 2/4 , rue Royale B-1000 Bruxelles /Tel +32 (0)2563 6151 /Fax 32 ( 0) 2 563 6161 / for other tours:  info@voiretdirebruxelles.be

BIP: 2/4 , rue Royale B-1000 Bruxelles /

Photo Credits: All photos representing the works of Victot Horta are licensed under the Creative Commons Attribution 3.0 and public domain. Ecxept courtesy who of photographers, Henry Townsend,  François Bernardin,  Mary Sullivan , J Visser Gallery. Other Credits Albert Videt

Need to through a party in the same atmosphere?  Choose Events at Horta at the magnificent Hôtel Max Hallet Avenue Louise 346  1000 Bruxelles / Tel: 02 648 81 11 / Fax: 02 646 71 11 / info@events-at-horta.be

Sources: Vivre l’Art Nouveau by Françoise Aubry, Curator of the Horta Museum, Brussels

Antiques, fashion or design every small , medium and large shop in Brussels has a story to be told. Rather than offering you a traditional shopping guide, ( there are plenty of excellent ones in the market,)

I have picked a selection of my favorites shops, not only because of their special and selected merchandise of which by the way I have had an immense pleasure to portrait in this post ( being a luxury global brand nowadays is very common)

but because of the  stories behind the mysterious windows panes who at times reflect the owner’s lifestyles, interests, and local architect’s insights on modern Bruxellois living,  all displaying the uniqueness of some of the city most hidden treasures,

.

L’Ecuyer

This  traditional gallery at Avenue Louise formerly  founded in 1945 at rue de l’Ecuyer is since 1952, directed by Gilbert Winans, known himself as the ” L’ Ecuyer” ( The Horseman).

This same gallery, has witnessed timelessly  the evolution of world of antiques dealers and the fashionable trends of world collectors. Always faithful of his clientele’s taste , he could bring Charles the Xth and Napoleon III to Art Nouveau and the Scandinavian design.

From beautiful blue and pastel colored Opalines to Belle Epoque glass vases of artists such as Galle,Daum, Gruber,up to material works of Samuel Herman for Val Saint Lambert .

Since always,” L’Ecuyer” has been  proposing antique jewelry but also and mostly he has defended that Art Nouveau, from contemporary Scandinavian, English,(Grima)  creation

It’s s a rainy day, I rush into the entrance door of the legendary shop, monsieur Gilbert himself opens the door for me, after turning a key lock four times to the left. “ Malmoiselle bonjour” he adds ‘ my assistant will take care of you”.

I introduce myself, ask if I can take a few pictures of his stunning collection of art pieces, furniture and interesting assemblages while I show him my press and business card ” New York! Oh I love that city – he says with a large but nostalgic smile” I used to go there several times a year with my partner and companion, you know I used to design several pieces to Asprey and other important houses over there!”

He really seems a very interesting person, while I look around in this old glamour gallery, I learn that the owner apart from launching Belgian artists in all forms of the beginning of the century, he designs all sorts of artifacts himself with such a joy and creativity.

bjects and vases with sensuous lines and subtle light, jewelry that carry feminine figures and curly hair, fluent dresses and attitudes, some having geometric precious  details in blue Agathe stones, a flair of Japonism and several colorful papier marche collages bottles, chairs and art works he created all along these years  of which he is very proud of.

Gilbert Winhams  is showing obvious  sympathy towards my curious interest in sneaking behind a semi – open door leading to an office with several books and a beautiful  Art Nouveau stained glass roof.

” With another large smile Monsieur Gilbert who at the age of 81 still travels all over Europe to source unmistakably original and rare objects asks me with a lecturing almost defying tone :

” I am sure you have heard about our  Belgian painter, architect and interior designer, Henry Van de  Velde ?  “Together with Victor Horta he could be considered one of the main founders and representatives of Art Nouveau in Belgium.” He says

I must tell you that he like many of all artist from which you see the art works in this gallery, were all my personal friends. ” While he talks to me I see him bending under a small table from where he lifts up quickly with the help of his assistant the gracious and very polite Sylvie, a very sexy vintage brown leather Louis Vuitton suitcase with a silver and worn-out buckle.

“  Van de Velde spent the most important part of his career in Germany and had a decisive influence on German architecture and design at the beginning of the 20th century.” he tells me while he ask me to follow him with his hand. A set of hundreds of black and white old portraits of Van Der Velde all dedicated, signed and written at the back with sketches for his long time friend Gilbert.

Sylvie Gilbert assistant smiles at the secret revelation, a cute black cat and a catwalk of sculptures made of stone and clay in the pretty garden behind a luminous window smile as well conspiring silently with those never shared secrets and legendary personalities breathing through the walls of this eclectic gallery.

Essentiel

The dynamic spirit of this 100% Belgian brand caught my attention through their flagship store while walking in the direction of the Toison D’Or for a gauffre and a hot choccolate.

Typical of the 90ties concept store, you can easily browse and find behind a glazed made- in- China  Sang -de -Bouf vase, the scarf you’ ve been searching forever to give your boyfriend.

You find yourself diving unconsciously into one of the last uber books with the title of nothing less than ” Dark Nostalgia” realizing it was your next aspirational design style for your grandmother’s apartment but you did not know it yet.

Cute, expensive bright colored leather helmets for your son’s bike  week-end escapades in Knokke le Zoute.

Fancy sneakers and the last high-tech device which are powerful headphones preciously packed in white and yellow boxes probably as trendy as the phones themselves will tempt you almost viciously while ‘ I am not going to teach your boyfriend how to dance’ from the Black kids plays its tune through white and micro Bose speakers strategically placed in throughout the store alley.

Essentiel is  a line created in 1999 by Esfandiar Eghtessadi ( Nicole Codine’s son) who grew up in fashion.

Among the Zebrano wood shelves, animal prints and Deco Golden Palm trees sculptures suggesting a blending atmosphere between 1930 African Decadence  and Miami modern shabbiness, you soon realize that  glamour and femininity in the couple creation go hand in hand with comfort .

This balance is mainly inspired by the complicity of the creator Esfandiar and his wife Inge Onsea. Essentiel offers a range of clothing which can be worn and combined to the infinite, a line that fits to all moods shifting with great ease from relaxed style to a more sophisticated one.

The brand also offers a collection for girls 4 to 16 years old mischievous and charming at the upper floor of this  impressive flagship at  Avenue Louise. The Brussels  flagship opened two years ago by the couple, hired Belgian architects Estelle and Florent .

The brand is success story par excellence: Esfandiar Eghtessadi and Inge Onsea started with just a few T-shirts, and now seven years later, Essentiel is a beloved staple of multi-brand boutiques in Belgium.The brand is sold in ten exclusive stores as well.

Flamant

With a very precise sense of fine works, Flamant Home Interiors has invented a concept that is both simple and ingenious: the revival of handicraft furniture and old objects adapted to the needs of today. Furniture that seems to have existed forever and which passes from one generation to the next.

In Paris, Hamburg, Brussels and Antwerp, and more or less everywhere in the world, Flamant Home Interiors has installed a “Bourgeois-Bohemian” art of living, a blend of nonconformity and elegance, tradition and cool. Its main quality: knowing how to make unconventional use of even the most conventional things.

Oblivious of fashionable trends or systems of every kind, in search of perfection, Flamant provides a resolutely modern vision of decoration, incorporating comfort, elegance and originality. Consequently, the border between past and present becomes decidedly blurred. The Sablon Shop presents  interiors of discrete luxury, of intimate charm, in which family furniture, curiosities and contemporary armchairs share the space with the glossy leather of elegant sofas and interiors.

More than a style, a life style as well, at ease in a loft in New York, an apartment in Paris, a chalet in Megève, a bastide in the South of France, a little house by the seaside. It has to be said that, at Flamant, we have a taste for lived-in houses. the crudeness of trade furniture making the best of the juxtaposition of yesterday’s and today’s styles.

Vitra Point

Is a stunning high ceiling  space, truly among my favorites in the city, housing Vitra furniture collection and reflecting it’s  innovative philosophy. This showroom is located in the heart of Brussesl in the most prestigious place called the ” Sablon” and today on the window it is written” We at Vitra like elephants”  I find this teser ther perfect excuse to check the place out an it’s reading about the mentioned wild animals.

Opened in 2006,the 500 square meters is given over to a comprehensive collection magnificently displayed  on the walls  which includes 20 the century re-editions of design classics.

It’s so overwhelming to walk under very bright lights surrounded by Charles and Ray Eames black leather office chairs neatly assembled over a Jasper Morrison’s ‘Ply’  wood table.

Frank Gehry , Verner Panton heart and cone chairs majestically suspended in the air over a long and a short  George Nelson ’s  cute and multicolored ‘ Marshmellow’s ’sofas ,Ron Arad  ‘Bad Tempered ‘ Chair.

The shop owner sitting on a white ‘Wire’ chair checking a price on his computer invites me to explore all rooms of the store authorizing me to take as many pictures as I wish.

But my first wish is to ‘ chase’ Charles and ray  Eames plywood elephant designed by Eames, 1945. I want to give it to a special sweetheart.  (Check it out, in the picture above) it’s so cute! After that I can shoot with my camera lens everywhere I look

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Argentinian Emilio Ambaz, Iraky Zaha Hadid, Japanese Tadao Ando, Porugues Alvaro Siza and Alberto Antonio Citterio from Italy, among many others furnish this spectacular showroom with beautiful colors, photographs but most of all a  precious miniature  collection , perfect for gifts to complete the range.

The miniatures collection present the most important classics of modern furniture history in miniature scale of 1:6. their construction, materials and colors correspond to the historical Vitra design museum collection original, right down to the last detail. Because they are so true to the originals, the miniatures are not only valuable collector’s items, but also ideal illustrative materials for universities, colleges of design and architects. the miniature collection is unique worldwide. for each miniature there is a license agreement with the designer or his heirs.

Ritual Gallery

Africa is at the crossing of the oldest cultures and traditions. The fascinating symbolism and variety of its different type of ceremonies, the intensity of some of its tribal rituals, highlights with sometimes the most unexpected turn, the richness and depth of their values and beliefs. African Tribal Art is considered as the witness of these beliefs, some masterpieces even being the center point of the ceremonies. These objects have a story to tell, a story of a ritual or a celebration.

The spirit injected in the creation of these objects, the energy contained within them, make African Tribal Art one of the finest and most sought art in the world today and allow its dignified place on the great board of human art. Among all forms of art this is by far one of my favorites ever. Every time I am in the city I like to stop by at the gallery and check the present exhibitions.

The 2R Ritual Gallery exposes African Tribal Art objects or collections at the heart of Brussels. Moreover, it also centralizes information in this domain still fairly unknown around the globe, domain in which even the most passionate collectors often have serious difficulties to trace objects or collections.

The two passionate and experimented art dealers and galley owners, Renaud Riley and Roger Bourahimou define themselves as experts and consultants, helping art collectors and amateurs as well as investors to find the object they are looking for with all the guaranties of authenticity and price estimate.

Francis Jassens Van der Maelen

Founded in 1978, this  gallery of Francis Janssens van der Maelen with beautiful interiors is installed in the « Grand Sablon » in Brussels, place privileged and renowned for the trade of art. Specialized in antique silverware and objects of art, this antique dealer proposes a very beautiful selection of European decorative silver of the 18th and 19th centuries, and from Art Nouveau and Art Deco periods.

These objects wear, mainly, marks of France, Belgium, England, Russia…, as well as those of the best silversmiths recognized for their perfect mastery of this art so noble.   Some statuettes in terra-cotta and bronze, pieces in porcelain and ceramic, pictures of high quality are also shown to the amateurs. Francis Janssens van der Maelen is a member of the « French Syndicate of the Antique Dealers » and of the « Royal Chamber of the Antique Dealers of Belgium ».

Ut Pictura Musica

In the heart of the historic  place the Sablon, sit comfortably in style and listen to your favorite classics admiring the beautiful view overlooking the large windows of this very cozy music shop.

If you are lucky enough to meet with the owner, you will have the music counseling, and a VIP concierge service for  any reservation to  in-house or public classical music concert in the country. Wow!

Senteures D’ Ailleurs:

This absolutely impressive and very selective boutique, is situated at 94, Avenue Louise is a different type of space: it has bridged the gap between a straightforward perfume store and the so called concept store so popular now. The idea is to be neither of these two but instead to create an ambiance which simply visually matches the refinement of the products it houses.

The boutique is comprised of two worlds: home fragrances, perfumes and skincare, all openly displayed on beautifully lit shelves.

When first entering this vast and rich world, the choice can seem overwhelming. That’s why I advise you to let yourself be guided by their team of experts who are all trained as noses to help you discover your dream fragrance. It’s a must, trust me!

Joelle’s Tips:

Art and Antiques :

l’Ecuyer: Avenue Louise 187,B Bruxelles /Tel: + 32 2 648 0684 / Fax: +32 2 647 3564 / e.mail:galerieecuyer@yahoo.com

2R Ritual Gallery: Rue van Moer 2 / 1000 Bruxelles  / info@2r-ritualgallery.com / Tel : +32 479 50 43 90

Francis Janseens van der Maelens Grand Sablon ,Rue Ernest Allard 23  1000 Brussels, Belgium
Phone: +32 2 502 71 80 ,Fax:     +32 2 502 87 03 ,Email:   Jvdm@fineartsilver.com

Sablon Antique market : Well-heeled locals spend their weekends browsing pristine antiques on Place du Grand Sablon. The shops around the square are best for African antiques and exquisite chocolates. The square’s many cafés are perfect for people-watching on a lazy Sunday afternoon.

Young Gallery : Pascal Young opened his first gallery in June 2000, presenting a collection of photographs chosen for their formal and contemporary spirit. Conrad Hotel 1050 Bruxelles

Belgian Fashion :

Essentiel : Avenue Louise 66 Tel +32 2 513 1891 / info@essentiel.be

Chine: Avenue Louise 82/84 1050 Bruxelles Tel + 32 2 512 4 52

Francis Ferent:Galerie Louise 49-50 – 1050 Brussels /+32 2 511.83.87/ ferent.galerie@skynet.be

Olivier Strelli: 72, Avenue Louise, 1050 Bruxelles / = 32 2 512 5607

The Brussels fashion scene has established its headquarters in another part of the city: the rue Antoine
Dansaert (in the city centre)  district, at a stone’s throw from the Grand Place. It is the hotspot for mostly young creators and avant-garde new Belgian designers. Around the rue  discover several upcoming designers such as Conni Kaminski (draped ensembles for men and women), Y-dress? (convertible clothes for city nomads), Le Fabuleux Marcel de Bruxelles (easywear anywhere check the website it’s fabulous), and Christa Reniers (contemporary jewellery). One of the first fashion shops  that opened in rue Antoine Dansaert and in doing so boosted the image of the district is Rue Blanche (sophisticated fits and prints), which has in the meanwhile become one of the classic brands  in the Belgian fashion scene.

Design :

Vitra Point 35 place du Grand Sablon / Grote Zavel 1000 Bruxelles / Tel + 32 2 242 0202 / Fax + 32 241 0101

Flamant:    Place du Grand Sablon 36, 1000 – Brussels – BelgiumTel.: +32 54 41 54 7/ Fax.: +32 54 41 93 22 6969

Other Goodies:

Senteur D’ Alilleurs :Avenue Louise 94, 1050 Bruxelles Tel: +32 2 511 6969

Ut Pictura Musica: Rue Bodenbroek, 8  1000 Brussels – Tel  +32 (0)2 256 77 32 / Email utpicturamusica@fugalibera.com Classical music Cd in a wonderful interiors.

Sablon Shops

Eat, drink  while you shop:

Il Giusto Flamant Italian  menu very  casual / Place du Grand Sablon 36, 1000 – Brussels – Belgium
Tel-fax: +32 2 514 47 17 – ilgusto@flamant.com

Au Vieux Saint Martin : ( my favourire Brasserie ever, check the filet Americain and french fries ) 38, Place du Grand Sablon 1000 Brussels Tel + 32 2 -512.64.76

Le Perroquet: Very cute for L’ Aperitif!  31, Rue Watteau 1000 Bruxelles Tel : 32 202-512.99.22

Et qui va promener le Chien ? Best location for your antiques galleries shopping the feeling is that you are in a middle of a garden in the hrest of the city. Rue de Rollobeek 2, Brussels, 1000 / Tel: +32 25032304

” Perfection in not of this world, they say. Perhaps not, yet that is what we aim for, because my very raison d’etre is to offer you a dream”

Pierre Marcolini

This beautiful sentence is what I am reading on smartly designed catalogue and whose art direction is signed  Yann Pennor’s.

I am at  the Marcolini flagship at the legendary place du grand Sablon waiting to meet Brussels-based Maitre Chocolatier Pierre Marcolini for an interview. The comfortable and sober living room room with black furniture and white walls is at the last floor of a magnificent turn- of- the-century landmark building.

” Mr Marcolini will be delayed a few more minutes … Please be kind to be patient, he just called to excuse himself as he is on his way from the Paris Chocolate Show. In the meantime, may I offer you a petite degustation while you are waiting and I guess,  you ‘d wish to have an expresso as well?” says a handsome  assistant dressed with a long black apron over an impeccable white tailored shirt in extremely attentive manners.

Of course, thank you. ” Traveling around the world to meet producers who are passionate about their work is both duty and pleasure.They let me discover even rarer and more precious beans which, reverently processed in one workshop, yield couverture chocolate that is more delicate and harmonious, more intense and therefore more alive!

“While still reading the interesting statement in the catalog, a blond saleswoman probably in her twenties, arrives in a brown uniform from downstairs with a silver tray containing several  chocolate carres in slightly different tones but basically all looking all similar.  “Please let me know when we can start ” the young lady says with a smile that  enlighten her traits.

The 28″ by 28″ squares have names of spices written on them in white and in French of course, Caradamone, Canelle,  Poivre Vanille, Saffran, Mouscade,  Gengibre.

“They are called Saveus du Monde-epices ( taste of the world- spiced)” – I am told -” Monsieur Marcolini says that they are a delicate pacifist army against the tyranny of everything heavy and massive” As I am preparing myself,  water in the mouth, to try the first  weapon,  I am invited  like a child apparently  to discover in those small and delicate pieces the taste, flavor and texture of certain distant lands.

I learn through my degustation that, Pierre Marcolini is uncompromising when it comes to choosing the raw materials for his products. With a dark assortment of chocolate of 72% cocoa content, single origin beans from selected plantations in different part of the world  and their complex chemistry of the chocolate transcendence differs from one region to another.

Subtle bitterness and fresh fruit flavors from Ecuador, slightly bitter and a delicate Amber aroma from Bahia , powerful aromas of a rebellious Ghana, deep bitterness aroma of spices from Trinidad , peppers and fruits from Java, typical bitterness of fine cocoa , red and yellow fruits from Madagascar, delicate acidity and floral aroma from Venezuela.

I slightly close my eyes imagining the sun striking those fields against the grey rainy day overlooking the window view of Brussels’s Grand Place du Sablon.

Definitely voluptuous and sensually addictive these small delights have a long journey before they are finally appreciated and consumed in elegant flagships across the world’s main urban centers such as Tokyo, Nagoya, Giza, New York, Paris, Dar Al Wadi and London.

And there he is, the Lyon 1995 World Champion Pastry arriving in a rush carrying a black duffel bag preoccupied with his slight delay. He is wearing loose black trousers and a white chef uniform. He is handsome and in his 40 ths. He warns me that he only can allow me only a few minutes as someone told him that I am a French reporter that came to write about Belgian chocolate makers for a local regional newspaper.

I smile amused presenting myself, I explain that there was certainly a misunderstanding, as  I am not a reporter, nor I am French. I don’t write for a local regional newspaper and he, Pierre Marcolini is the one-and- only chocolatier I chose to interview in my worldwide on- line publication featuring  the city of Brussels as a 2009 December edition.

We are now both laugh , relaxed and at ease with the incident,  and my first question while I furtively taste a small ‘ Plaisir d’ Enfance‘ ( childhood pleasure)  is about the Brussels-based luxury chocolate maker strategic partnership with Nestle.Marcolini, now sitting comfortably in a black leather armchair and feeling -at-home confides me visibly satisfied that the partnership will allow Nestlé to benefit from the know-how and artistic talent of one of the world’s leading luxury chocolate makers, while the maison Marcolini will gain access to Nestlé’s global experience

. Pierre Marcolini will provide inspiration for future Nestlé chocolate ranges, while Nestlé will help Pierre Marcolini expand his network of boutiques across the world. He also makes sure to tell me that he will  continue to lead his company as an independent and autonomous operation, and Nestlé will join its board.

I sip my Expresso, we have been chatting for more than half hour, he  has been telling  me that he has recently designed a selection of a few pralines for the Nespresso company under their own brand  (Nespresso is owned by Nestle) which took them a harsh work that lasted several months but at last they are finally distributed in France and Switzerland,  soon in Brussels as well.

The few minutes Pierre Marcolini had  reserved for our interview now passed the hour.

I decide to ask him two  last tricky questions: Would there be anything he would bring back in return of his glorious success as one of the world leading chocolatiers to those illiterate and simple plantation people from where , as a conquistador he purchases row beans in their most natural state and magically infuses them through a sophisticated process of several steps.

The Chocolatier supervises himself until they are like wizard ’s magic transformed into luxurious and edible small jewels that lift  the senses of a privileged population that is from another part of the globe.He pause for a while, probably to better answer my question, he then moved, talks to me about  and the different  human experiences  him and ex-wife, mother of their only son, founder of the Maison Marcolini and still today his friend and business partner, encountered during their several trips  together or separated in those distant lands.

His partnership for example with Clara Echevaria, the Mexican grower who has been fighting for years to protect her exceptional bean, the “Porcelana”, (porcelain) from extinction, bears testimony to his commitment to following a fair trade policy.

This alliance between the best beans and a Master of Chocolate has created an exceptional product, a vintage: the “Limited Edition Chocolate Square²” chocolate bar. In Bahia, in the North of  Brasil,  a couple, husband and wife  plantation producers were flown to Brussels to actually witness the transformation  of their beans into Marcolini’s chocolate production.

The manufacturing process begins with roasting the beans to remove any residual humidity and to increase the aroma. The beans are then crushed and the mass that emerges is divided into minuscule particles, which are then ground. This is when the chocolate-making process begins: cocoa, cocoa butter, sugar and fresh vanilla from Tahiti. Thus Pierre Marcolini continues the traditions of the “inventors” of chocolate, constantly seeking new flavors!

Pierre Marcolini has not limited himself solely to chocolate of course. he creates desserts, biscuits, ice creams and sorbets to the rhythm of the seasons and his inspiration. Inspired by gastronomic trends that he discovers during his visits around the world, he invents, designs and develops superb creations, which have already earned him an outstanding reputation (l’Envol, Aurore, Arriba, ).

And while these classics are the translation of his talents as a chocolatier, Pierre Marcolini still knows how to transform the most wonderful ingredients to recreate the links with the great confectionery classics. A range of Eclairs, a timeless classic of patisserie is waiting to be discovered.

Not satisfied with bringing back the best beans in the world to his ateliers in Brussels, this alchemist then subtly blends the beans from the different regions and works with original aromas to create un-equalled flavours: Ganaches made with teas from around the world, Origin “Crus” chocolate bars.

The advantage of creating your own coating is undeniable: real products, rigorously selected ingredients that enhance each of the specialties with their specific flavors to create chocolates that are always different, always original, sometimes audacious, and that remind us of the best “Grand Cru” wines.

Pierre Marcolini manufactures his grand cru chocolate himself (coating) using cocoa beans that he selects personally. He is among the last five craftsmen working this way in Europe. But Pierre Marcolini is also and above all a humanist, both in the way he manages his company and in his commitment to supporting small top quality growers.

It’s getting dark, I am in a rush now, Pierre Marcolini goes down the modernly glamourous stairs of the Sablon luxurious flagship, surrounded with velvet curtains, white Phalaenopsis orchids and impressive chandeliers. I perceive him whispering in the blond lady’s years.

A few minutes later I am handed  an Ecrin Noir (a black round gift box) with a selection of chocolate personally picked by mr .Marcolini himself as well a  stunning black art book on his life’s and work inspirations, architecture , painting and poetry. The beautiful book is called Eclats (  glimpse of splendor).

With no more words to be added I will, inspired by such Art and Poetry  do my best as well to picture the true dream.”

Inspired from Hans Sachs ‘Les Maitres Chanteurs‘ ( The Mastersingers)

Joelle’s Tips:

The Chocolate flagship Pierre Marcolini: Rue des Mimnimes, 1 Place du Grand Sablon-1000 Bruxelles/ Tel :32 2 514 1206 sablon@marcolini.be

The Manifacture: Place du Grand Sablon, 39 1000 Bruxelles / tel +32 513 1783/ manifacture.sablo@marcolini.be

The movie :  Carre 2 Chocolat (Absolutely beautiful)

Photos credits of coffe in cup and coffe bags:   courtesy Nespresso  / Plantations, cocoa beans and Pierre Marcolini in Cuba: Tawao

Arief Priyono, Antara for The  Jakarta Globe, La Libre Be./  Vanilla Sticks : Zester Daily

I just spoke to Anne -Sophie on the phone. We are set for Wednesday afternoon. It was not very easy to convince her that even if I am doing the Brussels edition, it would be so nice if I had the opportunity  to show my readers around the world the impressive castle of ‘s-Gravenwezel and private residence  of Mr Axel Vervoordt since 1986.

Having been there several times, this season was just perfect to take amazing pictures and  finally check the newly renovated rooms.  ” Mr Vervoordt will not be able to receive you this time Joelle as he is on his way with his son Boris to the New York antique show” I insist that I don’t mind at all  to go by myself or with my dad, and that I will tell my sister ( who is also and interior designer) and lives in New York to pay him a visit at this stand.

” We should be even like this” I kid with Anne -Sophie, after all, the advantage of being globally connected can open many doors  especially those of an extremely charming and aristocratic castle in the heart of a wonderful green region between  he cities of Brussels and Antwerp.

Regarded as one of the most original and adventurous collectors and dealers of our time, Axel Vervoordt rightly considers himself an eclectic collector and dealer, who treasures the timeless and disdains the trendy. Apart from having friends in common, for several years now I have personally  been a devoted admirer of Axel Verdvoodt work.

His taste spans centuries, continents and economic strata, and his profound knowledge of this history of fine and applied arts has led him to create spaces in which his juxtaposition of objects from vastly different eras and cultures makes a strong and impressive statement on present and future interior taste. These juxtapositions should inspire contemplation and thus mental liberty. It’s a beautiful day, we are driving on an alley full of green trees, it feels still like the end of Summer with a fresh breeze caressing the leaves.

This time we made no mistakes, the map sent by Anne- Sophie was just perfect. At our right an impressive iron gate opens it’s doors at the sound of my voice to a small microphone, maybe the only tech object in a distance of hundreds of miles. By the way I separated our visit with sections titled with the name of the rooms forming an itinerary, not all rooms are present though.

Reception Room ( Other Building)

An old gentlemen dressed as an elegant gardener leads us the way to a small reception room decorated with just a two seats antique English country seats, and an enormous fireplace under which two people can easily sit with comfortable armchairs and have dinner in the winter by the fire. And nothing else than silence. Just because of the coziness of this room I am so exited to be back in this place.

Hall ( Casle Ground Floor)

Anne- Sophie finally arrives and very kindly worried that in two hours we will not be able to visit the whole place since I have to bring my photographic equipment. I laugh and tell her that I just have a small digital Cannon  and that we will just be fine. In the meantime we enter the castle from the landing of the elegant two-sided stairs, into a vast and elegant hall  that gives us a warm welcome. It’s walls are painted in a warm yellow fresco-technique utilizing pigments of the ‘S-Gravenwezel soil.

Axel Vervoort’s Study

Always in the ground floor we now arrive at the study of Axel Vervoordt which first impresses with the complicated patterns of its French parquet. Here he works and seeks inspiration, surrounded by classical dignity, the warm colors of English furniture, and by numberless books on proportion, architecture, art and decoration.

Musical Room

Anne- Sophie is a perfect guide, she leaves us just the right time to appreciate every single object in owe and then discretely proceeds into the next room formerly ‘musical’ space that was transformed into a conference room. A beautiful mahogany dining table usually serves as conference table, the walls are decorated with prominent Italian Fruit-still lives, modern paintings or tapestries.

Library

This is a a very inspiring room holding pieces from all centuries, made by all kinds of people. Inside the library one can see 16th century German turned ivory cups, Daumier-sculptures, Gothic reliefs, Louis XIV Aumonières etc… creating a real “cabinet de curiosités”.  ” The library’s fireplace  is a contemplative space, with Lucio Fontana’s 1959 painting Concetto Spaziale, which suggests man’s ascent into the heavens, and a circular Pi jade (770-221 B.C.) representing heaven. Axel likes to find refuge when he needs to find inspiration”- I am told by Anne- Sophie.

Chapel

A beautiful Rococo chapel situated in the North-Eastern tower. It was adapted into a this white stuccoed style by Jan Pieter van Baurscheit during the renovation campaign in the first half of the 18th century. The chapel is inaugurated and used for private events.

Dining Room

From the beautiful chapel filled with a large collection of baroque and chamber music from  the beginning of the century, we arrive in the dining room. It’ fresh, inviting and holds an atmosphere full of history due to  hundreds of pieces of Ming China, exposed on the walls  and discovered in a shipwreck by captain ‘Hatcher’ in the South China seas. The room stands out because of the wonderful harmony between the white floors, walls and furniture and the pale-blue shine on the porcelain.

Kitchen

Among my favorite rooms in the castle. A grand Louis XV buffet dominates this bright kitchen where the walls are completely covered in white Delft tiles. A rustic trestle table gives that special extra touch that makes it an everyday kitchen where you can have breakfast overlooking the western part of the gardens and the water in front of the castle.

Let’s not forget the colorful pimentos, and warm Autumn fruits and vegetables harmoniously placed around the corridors of the pantry . The chef every morning picks in the garden everything he needs for the day’s dish and the family makes  a point to have a healthy organic and fat- free nutrition.

Baskets of all sizes  visibly used wait quietly to be picked and filled with fresh tangerines, bananas and seasonal mushrooms.The plates are of a beautiful Japanese brown glaze and the trays are in tin and old silver looking like they are coming from a  kitchen from a Brugel  painting.

Wicker Cellar

Going down some stairs from the kitchen we arrive into a small circular room with brick floors and loopholes, previously the ideal place for defending the castle against unwanted visitors. Nowadays it is an intimate room for small candlelight diners with a select group of people.

Original Kitchen and Tower Cellar

You can see from the photos the room is extremely warm and charming .

We are now going up to the first floor of the castle. I enjoy playing with  the views from the staircase with my camera while Anne-Sophie amused cites Axel’s Vervoordt  three main strands of influence in his work.

The first- She says- is that of contemporary and oriental art and arte povera, which to him signifies the importance of a life of meditation, empty space, a love and respect of nature and of human existence.

Oriental Salon

As we arrive at the first floor in my favorite  and newly renovated room of the castle. The reason why I like it so much it’s is because of it’s very own identity, standing out from all others because of the Oriental ‘feel’ it breathes, like the Zen-philosophy.

Everything is brought back to basics and nature evoking a very serene atmosphere.

Looking through the light coming from the windows in the a minimally furnished drawing room,and at the cushions assembled on the rough and textured  floor, you can easily feel you are in a Katmandu monastery on the foothill of the Himalaya or in a Turkish house in the region of Anatolia with the difference that the modern art paintings on the walls and the  juxtaposition of natural shabbiness of the Occidental furniture makes his global but so local style so unique.

I love Zen houses … and I also admire Thai monasteries because even un-restored and empty they have a real aura of peace and beauty, and I also admire Thai monasteries because even un-restored and empty they have a real aura of peace and beauty,” writes Vervoordt in one of his publications.

Green Room

We are still in the first floor of the castle. Stunned by the beautiful Oriental Salon, I had completely forgotten that we were talking with Anne -Sophie regarding the second  main strands of influence in Axel’s Vervoord work; architecture, representing proportion, balance and harmony, such as one might find in an 18th century library and finally  the third strand is the baroque, either gilded and courtly, or more. But here we have arrived at the the green room…

This room shows very powerful objects like a Shigaraki vase, one of the earliest Zen ceramics from the 15th century and a sculpture of a head in volcanic stone, originating from the temple of Plao-Sam from the Borobodur-period.

Green Bathroom

Adjacent to the green room we could visit a breathtaking bathroom completely covered with Louis XV green polychrome paneling. The portrait of the daughter of George II from the collection of the Duke of Bedford by T. Gainsborough hangs above the bathtub inside a beautiful niche.(Very difficult light conditions to photograph.)

Red Room

We passed quickly through the Venus and Yellow rooms and bathrooms finally heading to the second floor of the Cassle and to the very Cozy Red room.

Formerly the bedroom of Boris. The walls are painted in a very warm red almost sang-de-boeuf color, which fits very well with the 17th century pieces of furniture and charming old wooden beams and floor.

Renaissance Tower

Finally before leaving the castle, in the Renaissance room in Classical English in style, lots of mahogany furniture and warm fabrics, 19th century portraits and a Charles X billiard table especially made for the castle. A Cottage style was created in the second part of the room.

Situated high in the tower, this small circular room with heavy walls has a beautiful view over the courtyard of the outer buildings. The masterpiece of this chamber is a very rare Renaissance four-poster bed from France.

Outer Buildings

Old Orangerie

We have left the castle and we are walking in the beautiful landscape arounf us until we arrive in my third favorite room, The Old Orangerie.

Five large semicircular windows appear to transport the garden into the interior.

Besides the luxuriant plants and flowers housed within, the orangery exhibits antiques and old garden furniture, monumental sculptures, frames etc…

Large Concert Room

The bright and spacious room has a wonderful view over the central court and the Eastern façade of the castle.It is used for Inspiratum - concerts and private banquets and can easily be transformed into an exhibition space.

Loft

This space reminds a lot of the typical lofts, stripped to the very essence. This room nowadays serves as the quarters of our real-estate department. It houses a remarkable collection of French 19th century Materproof mixed with modern paintings.

Tea House

At the very end of the pool the former sheep stable is now transformed into an idyllic tea-house. It’s high ceilings, bright light and crème coloured furniture and porcelain render this room into a small dream-house.

The New Orangerie

The only contemporary building on the domain. This Orangerie was newly build in the eighties, completely according to the authenticity of the surrounding buildings and with respect for old materials. During summertime it is completely decorated, filled with various flowers and plants.

The twin-towered castle, surrounded by greenery and a pretty moat, is open by appointment to serious buyers only (past shoppers include Venus Williams) – except for two days a year, when the doors are flung open to the public. It is an experience well worth waiting for. I hope you enjoyed the ride…Please stay connected and browse into the antique’s dealer latest project: The Kanaal Complex.

Joelle’s Tips:

The Antique dealer and Architect:  Axel Verdvoord

The services:

The Casstle: Kasteel van ’s Gravenwezel, St Jobsteenweg 64, 2970 ‘S Gravenwezel, Tel +32  3 658 1470

Step through the door and you find yourself in a hushed, dimly lit circular room with low white walls and a burgundy-red dome that seems to weigh you down with the intensity of its color. We are symbolically this is the beating heart of Kanaal. Speak, and your voice slims to a whisper or suddenly raises, the volume out of control; walk, and you will be overcome by a disorientating sense of dizziness.

In circular room containing an enormous red dome , perhaps the most dramatic space in the Kanaal “At the edge of the world” a permanent installation by Anish Kapoor. It is a space for contemplation and peace of mind. This extraordinary installation  is tucked away in a purpose-built outhouse at a warehouse complex owned by Belgian ’s most successful antiques dealer,  Axel Vervoordt. is this old circular brew house.

The influential tastemaker’s latest project is Axel Vervoordt Kanaal a circa-1860 former granary and brewery that sells the castle’s over- flow — Italian Renaissance bronzes, 18th-century English furniture, modern paintings — and doubles as a performance space for artists and musicians.

The ever-expanding activities, the increasing inventory, with more than 13.000 items in stock, and a lack of space at the castle for showing many over-sized objects, led Axel Vervoordt to look for an additional site. The old malting complex at Wijnegem was the ideal place to realize his ideas.

There he could use his expertise to recycle the past and re-evaluate the architectural significance of an old industrial site, while creating a stepping-stone to the 21st century. Kanaal houses showrooms, exhibition spaces, a museum and facilities for a range of other artistic activities.

Vervoordt’s story is as remarkable as his collection. He has been rapaciously amassing art and artifacts since his schooldays, when, visiting England with his father during the holidays, he would hunt for collectibles and bring them back to the city of Antwerp.

Mere mortals, meanwhile, can get a glimpse of Vervoordt’s collection year-round. It’s an artfully designed, theatrical space – more gallery than showroom – where you can walk away with a vintage vase-cum-lamp for us $ 400. Amid the warren of corridors and halls, you’ll spy a 13th-century Chinese statue of a priest meditating, a ritual axe from Ecuador or an abstract painting by one of Belgium’s best 20th-century artists. Covered sofas and coffee tables, many designed by May, are everywhere.

As a connection between the warehouse and the workshop, there is an impressive corridor featuring bare brick walls and concrete floors. It used to contain all kind of machinery and continues straight to the waterline of the canal. Hidden in the heart of Kanaal two large storage rooms contain over a 1000 pieces ranging from mantelpieces to wooden paneling, an inexhaustible source of treasures awaiting their rightful destination. A was newly built in order to join the office building to the monumental “Karnak“.

Column Hall or Karnak ( Office Building )

This vast hall of columns was named after the Karnak temple because of it’s remarkable resemblance and spiritual atmosphere. It houses a permanent exposition of the private collection, such as Thai sculptures and Buddha-torsos.  In the midst a forest of pillars in the building’s cement grain dryer  he installed his collection of Mon Dvaravati statues made between the 6th and 8th centuries by Indian monks who brought Zen Buddhism to Thailand. “It’s a challenging new context in which to reconsider these spare exercises in form from an earlier age and a different culture,” he notes

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Corridor

When entering the ‘Kanaal’ this corridor immediately sets the industrial atmosphere of bare walls and high ceilings. The reception, logistics department, conference room , Boris’ office and Karnak are directly accessible via the corridor.

Boris Verdvo0rdt Office

With its old brick walls, barrelled ceilings, concrete floor and arched windows; the office has an authentic industrial feel. Situated on the axis between the end of the entrance alley and the high silos towering over the Kanaal complex.

Main Building – Gound Floor Central

The few pieces presented here are highlighted by a rather dramatic lighting. The white walls and high ceilings create the perfect environment for exhibiting antique garden statuary, massive stone tables, or even a collection of French stone masterproofs…

Main Building and Photostudio

Apart from antique furniture and objects, they also have a wide selection of antique building materials, such as mantelpieces, wooden paneling, parquets etc. This room is often used to display antique panelings.

Newly purchased items are immediately sent to the photo studio. Each of the 250 pieces that arrive here monthly have at least 3 pictures taken from different angles, they are also weighed, measured and labeled.

Main Building- 1st Floor Central

The first floor central is a perfect example for our eclectic style, mixing very different pieces in perfect harmony. The extreme simplicity of the rough concrete floor and dark grey walls create a spacious “loft” environment.

Light is everywhere and the architect home collection of daybeds, slipcovers, chairs and upholstered sofas all in white is superb and very comfortable.

Main Building kitchen

Tripped bare brick walls, old and withered, some of the paint remains might even date from the construction of the building in 1860.

The furniture exhibited in the kitchen is mostly rather simple and quite rustic.

Main Building Brown Room

After passing the meditation room, containing mostly English mahogany furniture, we continuously try to recreate the atmosphere of a gentleman’s office in this exhibition room.

Main building Casebere

Together with the grey room,  and near the kitchen, this room is named after the New-York based photographer James Casebere, this room features one of the artist’s works entitled “Two Tunnels”.This sober room presents mainly architectural Italian walnut furniture.

Loft (Main building Second Floor)

With its original arched windows, concrete floors and iron columns, the room presents pieces from our home collection, which have been designed by Axel Vervoordt himself.

Studio (Main Building Second Floor )

The impressive iron roof construction is the first thing that meets the eye when you enter this enormous space. The original arched windows offer the most beautiful view on the Albert Canal.

Central (Main Building – Second Floor)

Set between the red room and the studio, this L-shaped room is usually used to present charming “mountain” furniture.

Main Building – Third Floor- Upholstery Studio

Our upholstering studio, offers a wide range of natural fabrics used for the upholstering of antique chairs or sofas as well as for models from our Home collection.

Main Building -Third Floor- Modern Selection –

Situated on the top floor, this spacious, sun-drenched room overlooks the canal.
Here, surrounded by our most beautiful creations in home furnishings, our people give life to the home-collection every day. Many of which, brightly colored and Deco-styled, seem to come out from a Magritte painting.

The story begins with Vervoordt’s family history, and how he started buying and selling antiques when he was a student. As a young adult, he bought and restored a 16th-century house in the center of Antwerp. When numerous admiring clients asked him to do the same, he fell into decorating. Now, with a staff of 100, he personally supervises between 12 and 20 interior design commissions a year for a variety of royalty, pop stars, museums, bankers, collectors and musicians.

Though the Vervoordt castle and Kanaal are two entirely different buildings, some of the spaces and the way they are arranged with furniture, art or objects look very similar at the hands of Vervoordt. When Vervoordt decided to buy the Kanaal, a complex of warehouses, grain silos and a large round building, he wanted a truly minimalist environment where he could exercise his vision of “limitless spatial purity.” By stripping the buildings down to the bare wooden board or cement floors and exposed brick or whitewashed-cement block walls, Vervoordt hopes to show “how we might wish to live in the 21st century.”

Not only is the variety of the antiques and art that he offers awe-inspiring but so too is his philosophy. “I consider myself a very eclectic collector and dealer. I treasure the timeless and disdain the trendy,” states Vervoordt. “My taste spans centuries, continents and economic strata. I love the tension between different object and different cultures.” Two elaborate silver candelabra “taken away from some princely 18th-century dining table become not table decoration, not emblems of wealth and power, but strange and beautiful abstract objects,” he  writes in one of his  publications.

It embodies Vervoordt’s raison d’etre: “My task .. has been to rediscover works of art, to save them for the future, to reveal them for what they are, to show them at their best, to give them a better place in the world—and, perhaps, by doing this, to create harmony and find new ways of expressing the inner life.”

Joelle’s Tips:

The antique dealer ans architect: Axel Vervoordt

The Complex:  Kanaal, Stokerijstraat 19, Wijnegem / Tel  00 32 3 355 3300, Thursday, Friday 2-6pm, Saturday 11am-6pm.

Sources: Antwerp: Great away days  By Julia Davis / the Indipendent

Photo credit of Antwerp house:  Hotel Belgium Photoguide Used with the permission of www.hotels-belgium , www.trabel.com & www.arakea.com’. Alle rights reserved

To my surprise I would never imagine that one of my favorite museums in the world would be found in the city of Brussels. The Musical Instruments Museum known today as MIM , has been part of the Royal Museum of Art and History since 1992.

Originally attached to the Brussels Royal Music Conservatory with the didactic purpose of showing early instruments to students, the MIM collection was created in 1877 with a collection of a hundred Indian instruments given to King Leopold II of Belgium by Rajah Sourindro Mohun Tagore in 1876 and the collection of the celebrated Belgian musicologist François-Joseph Fétis, purchased by the Belgian government in 1872 and put on deposit in the Conservatory, where Fétis was the first director.

Its first curator, Victor-Charles Mahillon, greatly expanded the already impressive collection so that, by the time of his death in 1924, the MIM consisted of some 3,666 articles, among which 3,177 were original musical instruments. He was noted of his astute judgments in obtaining these large augmentations by calling on philanthropists, mixing with erudite amateurs who sometimes became generous donors, and through friendly relations with Belgian diplomats in foreign posts, who sometimes brought back instruments from beyond Europe.

The museum’s current location, as of 2000, is in the former Old England department store, built in 1899 by Paul Saintenoy out of girded steel and glass in the Art Nouveau style as well as an eighteenth century neo-classic building designed by Barnabé Guimard. The former Old England was bought in 1978 , to be completely redeveloped to house the exhibition rooms, the reserve and the administration of the MIM. It is today without exceptions one of the most beautiful buildings in the city of Brussels.

I arrive running , escaping form a harsh and cold rain into the beautiful mosaic floored entrance. I tale my coat off, show my invitation letter from mr. Damien Filippi director of the press and public relations of the museum and a lady with white hair hands in my hands a headset asking me what language I speak. I ask myself why since it’s all music and no talking….Maybe because they say the language of music  is universal and knows no frontiers…Anyways,

With a large and a little ironic smile she tells me that it would be sad to see the instruments without hearing them ” The different themes of the exhibitions are illustrated by listening to works related to the instruments ob display. By means of these  infra-red head-phones, mademoiselle, you will be able to listen to about two hundred musical extracts, from Ancient Greece to the music of Varese of the middle of the 2o th Century. ” I wander why the lady asked the language questions if the headphones are only about music.

Without waiting for the answer I am set and very exited, I am ready to head to enter the magnificent Art Nouveau style elevator. The exhibition area has been arranged into an attractive path divided into ninety-odd themes over the four floors of the building reserved to visitors. Each floor is centered on a particular section: the ground floor shows popular instruments,from Belgium and Europe as well as extra-European instruments.

The first floor gives an historical tour, from antiquity to the 20th century: the second floor is presented more systematically showing the development of keyboard instruments. The basement shows the mechanical instruments,  20th century instruments and bells. In all about 1500 instruments are shown and more that 700 documents add to the information given on information boards available for visitors near each floor entrance.

I am listening with attention to the old lady’s  the last instructions: If I desire to listen to the music of a specific instrument  I will be required  to step on a small icon representing the headphones on the floor just in front of the exhibited  instrument. I have no words to describe that I feel just like a kid in front of wonderland of magical dreams.

And having said that I would like to offer you a seat  into of this musical voyage where I am sharing the  history and description of  instruments  from close and distant lands, that most touch my psyche.

The beauty of their craftsmanship of which I have always been sensitive to, and the harmony and purity of their sounds, evoke withing my spirit an unexplained  memory of a past aristocratic or a maybe a roundabout  gypsy life, translated today in vivid and colorful emotions into my present existence . I truly hope you’ll  enjoy the ride and suggest if you are in Brussels to do the same.

European Folk Instruments

There are some 270 instruments on display in this section all of them were part of the musical part of the common people. During the 1960, different regions in Europe started to become interested in their own musical traditions. It was above all in the Anglo-Saxon countries, as well as countries with Celtic heritage, that this tendency found an echo.  But formulating such a category ( Folk)  is somehow artificial as it is very difficult to draw a distinct line in music between Asia and Europe or the Caucaus, which are generally included in Asia, are real unifying forces between the musical cultures of the East and West.

This is the reason why they are all in the same floor. It would be though be true to say that the Folk often tend to keep instruments, or tend to enjoy types of music long after they have gone out of fashion in more elite circles. In other words bagpipes, -gurdies, lutes ( my favorites) and fiddles were once also heard in houses of the aristocracy.

Lutes and Fiddles, the journey form Asia to Europe

Much of the European richness of Folk instruments, giving honor where honor is due, is owed to the East.

Prior to the 8th century Europe would have probably  known small flutes, horns,trumpets and  without a neck such as harps and lyres.  Plucked stringed instruments on which the strings were held down and which had a neck extending from the sound box, ex the lute family,in the largest sense,were first seen more than 4.00 years ago with the Semites in Syria. These instruments reached the Mediterranean.

However they only really became established in Europe by the 8th century, thanks to contact with the Byzantine and Moorish cultures. The Lute family is divided in two main groups: The short necked lute and the long-necked one. The short necked derived form the Arab ud, played an important part in popular music during the Middle Ages, particularly in Western Europe.

Bu the Renaissance, however it had become a symbol of the bourgeoisie.The Romanian and Moldavian cobza is the only short-necked lute to have maintained a place in popular European music.

Different types of stringed Instruments

The Pluked Dulcimer: Probably coming from Scandinavia, in certain regions of Europe, it was  the only folk instrument played by women and young girls. This was associated mainly with the family and the home. It can be found in a large range of sizes and shapes.

Being quite a primitive instrument, the body is a rough is roughly fashioned from a single block of wood with two series of strings stretched to the length of the body. The Hungarian citera has often a second range of strings. Usually played on the knees or on a table with the fingers.

Similar stringed instruments are the tar a medieval fiddle survived mainly in the Balkans and the Greek islands since the 16 century and replaced by the violin, which is still one of the favorite instruments of the village musicians.The Russian psaltery, the gusli, the crwth, a type of welsh lyre.

The gardon which is often in the shape of a cello,is only played in Hungarian  Szekely community

The accordion:  a new comer

At the end of the 18th century musicians and physicians were fascinated by far Eastern mouth -organs. Like the Chinese cheng or the Japanese sho. From these curiosities a whole new family of free reed instruments was crated in the first decade of the 19th century. The free reed consists of a metal tongue in a frame which allows it to vibrate when blown. Their air source can be from a human mouth ( The harmonica) or a bellows ( the harmonium).

In 1829 the accordion was patented by a Viennese builder named Zynl Demian: It was the first accordion that had both melodic keys and keys that played chords. Between 1830 and 1860 Paris was the center of accordion making. In this period they were made by hand from sophisticated materials. They were exclusively for the wealthy classes.

At the end of the 19 century especially in Italy and Germany mass production was undertaken, The resulting drop in price took place as well as the possibility to play melodies harmonies bass lines and rhythms on an instrument requiring virtually no tuning or maintenance contributed to the instrument’s popularity, and it came to be used by the folk musicians throughout Europe, except in the Ottoman Empire.

The Hurdy-Gurdy : an instrument played by beggars and the blind.

Already in the 13th century, the Flemish author Jacob van Maerlant mentioned the hurdy-gundy in his Trojaenshe Oolog.

The first representation sof this instrument also dates form this period, but it was principally between the 16th and the 18th century that the hurdy-gundy took its place in folk music.

It consists of a sound box on which is fixed a rectangular key-box. It contains one of two sets of keys that slide fro back to front. Placed at right angle to their end are tangents that shorten the melodic string.

After having been touched and released, the key automatically returns to its initial position due to the instrument’s oblique playing position and helped by the string’s vibration. The instrument was often used by blind beggars. Hurdy-gurdy were rarely equipped with trompette, because of this many players were accompanied by a small boy playing a triangle to mark the rhythm.

Two Bass Viols

The  two exceptional  bass viols in the hall are first and foremost instruments sumptuously decorated.  The instruments attributed to Capar Tieffenbruker have a historical importance. The viol was apparently assembled for a collector at the beginning of the 19 century, from pieces of old instruments.The marvelous decoration represents a map of Paris in marquetry on the back of the instrument.

The second ( photo above) is not only a collectors’s object, but is also playable. Tielke ( 1641-1719) is considered to be the most famous viol maker of his time. His instruments,ofter magnificently decorated, are renowned for the quality of their sound.

Northern Italy Violins

From the end of the Middle Ages, the ring of the cities around the Alps played a dominant role in the development of instrumental music. Initially the main activity was that of the musicians of Southern Germany, whereas in the 16 th century, the itinerant and town musicians of Italy, especially in the regions from Milan and Venice, had more influence. Venice itself, thanks to its great period of political and economic stability and prosperity attracted musicians and instrument builders from far and wide, becoming the most important musical center of all times.

Many musicians, mainly violinist, came from Lombardy and the westermost cities of the Venetian Republic. Some of them like Cicilianos, and the Linarollos, were string instrment makers.At the end of the 16 th century. when the lute builders started to make violins,the Italian violin began to acquire its legendary stature. It was above Cremona, a little town in the Po valley, that became renowned with makers such as the Amati family, the Stradivarius family and the Guarneri del Gesu.

Even before the 16th century it was played in churches, often with the organ. From Italy comes the Baroque repertoire of concertos sonatas, which was developed by composers like Corelli and Vivaldi.

Horns and Trumpets: Instruments  for calling and for magic

Blowing into an animal horn, or into a shell belongs to the very earliest of human mystical experiences.The horns and the trumpets are also often made from a slender trunk. From the Bronze age onwards metal was also used to make horns and trumpets.

Horns and trumpets were used as calling instruments.They were a major means of communication by shepherds, particularly in mountainous regions. The spectacular  is the most well-known example, but it s by no means the only one. Horns and trumpets had a similar function in the Carpathian mountains-the Romanian tribita and bucium are good examples too.

Their raucous , strident sounds were intended both to galvanize the soldiers into action and to scare off the enemy. In addition they were supposed to chase away evil spirits. Blowing  horns and trumpets was also a way of breathing new life into nature. The midwinterhoorn, which can still be heard at advent in Twente in the Netherlands, undoubtedly has a similar magical origin. The Shofar is a horn, traditionally that of a ram and since  biblical times, the Shofar-blowing is incorporated in synagogue services of Rosh Hashanah and Yom Kippur worldwide.

The Bagpipe: Instrument of shepherds and dancers

Beginning of the 13 century, written sources such as Cleomades, of Adenet le roi spoke of the bagpipe in the Southern Low Countries. We see it first in pastoral scenes,but in the 15 century onwards it was shown being used in secular festivities such as wedding celebrations. One of the most intriguing instruments of history,  it is made of the following parts: goatskin bag, or made of an animal’s bladder, renewed, blowpipe, chanter,two drones and three stocks connected to the reservoir.

The pipes are turned from different kinds of wood, the horn is reinforced by a ring of animal horn and brass. They can be found in Germany, British Isles and Spain. I had fun taking pictures of the two most original ones..have a look above!

Different types of drums and tambours

There are four principal types of European drum, categorized by their different forms: Goblet-shaped, or built on a frame. The most common type is cylindrical, as in the side drum. the snare drum or the bass drum. Goblet-shaped drums are usually made in pottery.

These are bowl shaped kettle drums are mainly used in the Caucasus, in Turkey and i the Balkan regions. But frame drums are found throughout Europe, and are possibly of prehistorical origins. Thy are usually round and are often fitted with jingles or small bells. The tambourine is the most common example.

Instruments form Outside Europe: Stringed Instruments in the Indian Sub-Continent

The rich history of this ancient part of the world can be seen reflected in the incredible variety of stringed instruments still in use there.

Both in the music of the people and in the highly sophisticate music of the upper classes. For a Westener, the most striking phenomenon is that many instruments have sympathetic strings. These vibrate freely, in resonance with the strings which are plucked or bowed by the player.

In India there is a clear distinction between Hindustani music in the North and Carnatic music in the South.

The Hindustani tradition comes principally from the Muslim culture. brought by successive invaders from the West. The sitar and the tabla are the principal instruments of the North. The sitar is probably the invention of the 17th century Amir Khusrau of Delhi,  but confusion with the name of a famous poet led players to claim that the instrument had its origin in the 12th century.

The sitar is usually played with the tabla and a drone instrument, the tambura; they are also used to accompany dances. The surbahar is a larger sitar, sounding at a lower pitch. In North Ind, instruments had an important part to play in the classical vocal tradition.

The khyal is one of the vocal styles, performed in princely courts since the 19 century.The singer is accompanied by two sarangi a tabla, and one tambura.

The most widespread instrument on the sub-continent is the ektara. It is a single-stringed spike lute with a gourd resonator and is used above all wandering mendicant monks.

Ritual music in Tibetan monasteries

There is something fascinating in the music of Tibetan monks. This may be because of the geographical situation of Tibet and its political isolation.

The roof of the world is about 4,000 meters above sea level. Since 1957 the spiritual head of the country, the Dalai Lama, has lived in exile in India.The Tibetan monks use the dung chen ( long trumpets) only for open-air ceremonies,where they dialogue with the rgya gling ( oboe).

The dung chen essentially come in two sizes 170 to 180cm or 310 cm. A few examples are even longer than four meters. The monks play long sounds linked by a sort of glissando.

The oboe players also use as is frequently the case in Eastern countries, circular breathing. Other instruments, such as the gandi ( woodblock), the’ kharrnga and the dung dkar ( conches) are used to summon the members of religious communities.

To mark the time in a piece of music, the monks use a rnga ( frame drum) and three sorts of cymbal: sbub-chal, sil nyan and ting shang. Many drums are often used to meet with thirty or forty at the same time.Their role is giving musical pulsation 9 metronome0 is usually given to young monks.

Finally there is a whole series of purely ritual objecs like the dril bu and the gsang ( hand bells), the damaru ( drum in the form of hourgalss) and the rkang gling ( short trumpet made of human bone or metal).

They are often represented as attribute of spiritual masters, divinities or even certain Buddhas.

Ritual music in Chinese Temples

The groups of stone sticks ( lithophones) and bronze bells are part of a long tradition. Qing ( separate resonant stones)and zhong ( bronze bells ) already existed under the Shang dynasty (1766-1122 B.C).

The examples found in the museums date from the end of the 19th century.

The biangzhong has sixteen bells and it is placed on the east side of every Confucian temple. The bianquing is placed on the west side so that the two instruments can dialogue.

The ritual temple music also calls for several types of flutes.

Serpent Chandelier

This exquisite and peculiar chandelier is made of serpent and it comes from the brass band of the belgian town of Puurs, where it was indeed used as a chandelier before the MIM purchased it.

The serpents date from the end of the 18th century and the beginning og the 19th century. Before their new life as a chandelier, they were used as a bass instrument in bands or to accompany church music. The sun and the crescent formed part of the Turkish crescent around which the chandelier is made.( Photo below close to harps)

Lyre Piano

The lyre piano derives its name from its case in the form of a giant lyre. It is in fact, a grand piano placed vertically on a stand. This quite peculiar model of vertical piano, which seems specific to Berlin,

was apparently invented by a builder named Syling, active in Berlin during the first years of the 19th century, it was built on a limited number rivalling other instruments like the giraffe and the pyramid piano

Strings and Keyboards :Harps

In Western Europe the harp developed from the small instrument of the troubadours to become the large orchestral instrument,while keeping its role as an accompanying instrument.

In the 16th century the musical potential of the portable instrument, on which each string could only produce a single note, began to seem insufficient in the light of the increasing importance of instrumental music.

The delicate tuning necessary on certain strings to enable the instrument to play in a variety of keys was made easier by the addition of hooks on the neck. The harp enjoyed a huge success in the second half of the 18th century particularly in France where it became the darling of the aristocracy.

Harpsichords

The clavichord appeared in the early 15th century. This small an expressive instrument is usually built in a rectangular shape.The stings are struck by small metal blades called tangents. the action allows the player to give much dynamic expression and also use a sort of vibrato which the German call Bebung.

John Sebastian Bach wrote many pieces for this instrument.  for example wrote 550 sonatas for this instrument. A symbol of aristocracy and rich bourgeoisie, the harpsichord was a luxurious piece of furniture often seen depicted in sumptuous decorations by famous painters or precious ornaments

The harpsichord was one of the favorite instruments in the Renaissance and Baroque period. It was used as a solo instrument, as well as in the orchestra , the opera and in chamber music. it repertoire is very large, from suites to toccatas, sonatas to concertos.

Most composers, including Girolano Frescobaldi, Francois Couperin, Henry Purcell,or  wrote many pieces for this instrument.

The Italian School

The Italian have gracious forms.The lid and exterior of the outer case were painted. Often ivory buttons were placed on the side of the case or on the name board.

The Flemisch School

From he 17 century the role of Antwerp became predominant because of the resown of the prestigious Ruckers dynasty. It can be differentiated from the Italian by its heavier form and more robust construction.

The decorations were also different, the outside case is often painted in imitation marble while the inside surfaces were ornamented with printed paper with patterns taken from  Renaissance books. The interior lid were covered with paper imitating wood, enhanced with Latin sentences, either of a religious nature,or relating to bourgeois morality.The soundboard is painted with flowers, leaves,fruits and birds.

Other European Schools

Although the Flemish school was considerable in Europe, other European schools have their  specific characteristics. For several centuries they kept their simplicity.

Different Types of Piano

From the early 1720s some piano makers began to place the piano action in a rectangular case, similar to that of the clavichord. The manufacture of upright pianos, in the present sense of the word, did not begin until 1810 although the idea of the vertical piano goes back to the beginning of the 18th century

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Manufacturers came with all sorts of original,  and totally fanciful ideas, which showed real inventiveness- the cabinet pianos, the pyramid piano, the giraffe piano. the lyre piano, the dog Kennel piano ot the console piano.in 1850 onwards the industrialization of certain manufacturers led to an increased standardization of models.

Only the upright piano and the grand piano have surived to our days.

Electronic sound generation

Each new electronic instrument represents a phase in the development of sounds generators towards the mastering of the acustic spectrum.Before the First World War the differential sound between a fixed and moveable frequency was often used. This is the technique used by the Ondes Martenot (e 1928) and by the theremin( 1929) .Electronic studios hardly appeared after Second World War.

The commercially produced synthesizers of the 1960s and 1970s made the techniques of electronic music easily available to a large public.

“The instruments which engineers must bring to perfection in collaboration with musicians will make all sounds available for use…We may say that such a rich diversity of timbers has heretofore been non-existent. The intensities are hardly variable. Thanks to the mechanical system we may indulge in endless dreams of both timbre and intensity..” ( Edgar Varese, 1930)

Joelle’s Tips:

Th Museum : MIM mim / Musical Instruments Museum / Av Montagne de la Cour 2 B-1000 Brussels

Museum opening hours Tuesday – Friday: 9.30 a.m. – 4.45 p.m. / Saturday & Sunday: 10.00 a.m. – 4.45 p.m.

Photos of Old England building credits:  Photoguide Farm Static

Dancers:  Dvorana Travel Swiss horn player : Eye Fetch Man Playing Badgepipe / Man Playing Badgepipe / Shofar : Tam Tam for Peace