This tie pin, a personal piece of jewelry belonging to Henry van de Velde, reflects his keen eye for detail and his dedication to refined elegance. It features his monogram, a signature motif that recurs throughout his work. Van de Velde often integrated his interlaced initials into his creations...

In 1893, Gustave Serrurier exhibits a ‘cabinet de travail’ at the Salon de la Libre Esthétique, attracting the attention of the public and the press. In 1895, he presents the ‘Chambre d’Artisan’ at the Cercle Artistique, a very similar armchair to the one that was included is now in the Ghent Design...

Joining the Friends of the Maison Hannon means becoming part of a passionate community of Art Nouveau enthusiasts, collectors, and heritage supporters. As a member, you’ll enjoy exclusive benefits while directly contributing to the preservation and enrichment of our collections. We rely on the...

This cover belongs to the catalogue for the penultimate exhibition of the Cercle Artistique des XX. After ten years of activity, internal and interpersonal conflicts led to the dissolution of the salon in 1893. However, it was reborn the following year, in 1894, as La Libre Esthétique. The cover is...

Paul Hankar maintains close ties with the Wolfers family. After collaborating at the 1897 international exhibition, he designs a family estate for the brothers on the outskirts of Brussels, situated between La Hulpe and Overijse (which no longer exists). This unique seat, on loan from the Design...

This poster, designed by Adolphe Crespin, serves as an advertisement for Paul Hankar's studio, which opened around 1894 at 63 rue Defacqz, now number 71. From 1888 onward, the architect collaborated with Crespin to create various graphic elements for his buildings, such as textiles, graffiti, and...

This cutlery set, whose original design dates to 1903, was Henry Van de Velde's first realization, hence the name Modell 1. The set has a unique origin and significance. Made for the wedding of the last Grand Duke of Saxe-Weimar-Eisenach on April 30, 1903, its production is funded by a public...

At the close of the 19th century, ceramics were primarily used for mass-producing functional objects, a process made possible by industrialisation. Rooted in traditional shapes and patterns, the medium offered little creative freedom to designers. The Universal Exhibitions in Paris of 1867 and 1878...

The Maison Hannon is offering a brand-new programme of thematic visits. Every month, you can enjoy a guided tour to discover the secrets of the Maison Hannon and get a new view on our heritage. The restoration works and the painted wall decorations in the conservatory. With Emmanuelle Job of KIK...

Starting on the 19th of September, Emmanuelle Job and Shanna Caboz Cabeleira of the KIK-IRPA (Royal Institute for Artistic Heritage) will continue the restoration of the painted decorations in the winter garden of the Maison Hannon, with the support of Urban.brussels. During two earlier campaigns...