Our Collection

Gilt bronze candlestick signed Casenove, foundry mark Fondica, dated 94 (1994).

In perfect condition.

Italian floor lamp signed Barovier & Toso, Murano, original label preserved  (Barovier & Toso lozenge logo + “Vetri Murano VM 007” certification label, mark of the Consorzio Venezia Vetro used between 1981 and the early 2000s).

The conical bowl in blown opaline glass, with the granular texture characteristic of Venetian workmanship, is adorned with a frieze of acid-etched waves on its lower third, drawing upon techniques and a decorative vocabulary inherited from the great years of Venetian glass. It rests upon a sphere of colourless Murano glass, blown and cut with twisted ribs, which closes it onto the brass stem — a torchère-type floor lamp, the light being diffused upwards through the glass.

The shaft, in brass, descends to a circular base in white lacquered metal. Original foot dimmer.

Good general condition consistent with use. The lacquered base shows visible marks of use and micro-scratches (see photographs), with no impact on the structure or functioning.
Glass and crystal sphere intact, without chip or crack.

Original electrics in working order.

Origin: Italy, Murano — Barovier & Toso, circa 1980.

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“L’Apiculteur et les Indiens” — a print by Gérard Garouste, Hors Commerce, signed and numbered 8/10.

The Minotaur emerges from a Greek-inspired setting, its meander and foliate scrolls drawn in black line, almost architectural in feel.
The face escapes this rigour: hand-painted in browns and pinks that soften the figure.

In Garouste’s work, “the Indian” is never a mere anecdotal detail. Ever since his play “Le Classique et l’Indien” (1977), the figure has embodied the painter’s double: opposite the Classical — reason, order — the Indian carries the wild, the mad, the uncontrollable. A theme he would explore for more than thirty years, culminating in his “Indiennes” series.

The full title of this print echoes that of a book Michel Onfray devoted to his painting in 2009.

Presented in a museum-quality frame, with anti-reflective and anti-UV glass.

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Spectacular Italian chandelier in Murano glass, composed of a multitude of long crystalline glass rods with a prismatic section, arranged in a cascade and of varying heights.

The composition, particularly elegant and sculptural, forms a lively and airy silhouette, characteristic of the great Italian glass design of the second half of the twentieth century by Venini, and notably of its compositions using prismatic elements of the Triedri type, developed from the late 1950s onwards. The glass elements, of great transparency, offer magnificent plays of light and reflection when illuminated.

The chandelier features a silvered/chromed structure. The warm reflections visible in the photographs come solely from the lighting.

A very fine piece of character, monumental and rare, particularly well suited to a contemporary interior, an entrance hall, a dining room or a space benefiting from a generous ceiling height.

Italy, circa 1960-1970.

Electrification redone by a professional.

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Colour print/lithograph on wove paper after the iconic work by Pierre Bonnard depicting an intimate winter landscape.

The composition opens onto a snow-covered path bordered by walls and trees with branches heavy with snow, at the centre of which a child advances, wrapped in a coat.

All the modernity of the Post-Impressionist movement is to be found here: tight framing, stylisation of forms, outlined touches of colour and a muted palette awakened by the vivid note of a chimney in the background and the child’s legs. A composition characteristic of Bonnard’s view of wintry Parisian street scenes.

The artist’s signature is printed in the plate at the lower right.

Numbered in pencil 192/220 at the lower left.

Posthumous reproduction, art edition type, from the 1950s-1970s.

The work benefits from a bespoke museum framing under glass: anti-reflective and UV-filtering glass.

An elegant pair of two-branch wall sconces, Italian or Venetian-style work dating from the mid-20th century (circa 1950).

Each sconce comprises a shaped and curved mirror plate with bevelled edge, forming the reflector back. The glass is richly intaglio-engraved and enhanced with gilded and sanded motifs, depicting at the summit a stylised foliate design flanked by stars, together with broad foliate scrolls bordering the contours.

The lower structure supporting the two light branches is executed in carved giltwood with an antique patina.

The curved arms with double moulding support moulded drip-pans. The backs are in the original plywood.

Very good overall condition.

Original electrification.

An elegant pair of postmodern/Hollywood Regency style table lamps, crafted in 1980s Murano glass and brass.

These light fittings are distinguished by a “totem” structure composed of a stack of various hand-blown glass elements, offering an interplay of textures and contrasts:

* White opaline glass: globes and a domed base in satin opaline glass

* Gold-leaf textured glass: intermediate discs in solid moulded blown glass, one translucent with radiating ribs, the other enriched with gold dust inclusions according to the traditional Murano technique.

* Geometric elements: Murano glass cubes that structure the architectural silhouette of the whole. The mount and separating rings are in gilt brass, accentuating the elegance of the materials.

The design is characteristic of the high-end Murano production of this period, in the spirit of houses such as Barovier & Toso or Mazzega.

Excellent state of preservation.

Electrics fully overhauled and refurbished.

Presented here with conical grey/green shades.

An exceptional and rare four-leaf screen presenting an Arte Povera (or Lacca Povera) decoration on a ground of antique green lacquer. This piece constitutes a refined testimony of the taste of the Directoire period, marking the transition between the delicacy of the 18th century and the rigour of the First Empire.

The decoration is composed of applied engravings, after the works of Carle Vernet (1758-1836). One finds here the artist's favourite themes: hunting scenes, genre scenes, Neoclassical repertoire such as winged caducei, quivers, torches and laurel wreaths. The Arte Povera technique consists of the meticulous application of engravings on a painted support, the whole protected by numerous layers of resin varnish.

The reverse of the screen is treated with equal care, presenting moulded panels painted in a green tonality. Late 18th / early 19th century.

A rare ensemble of four profile portraits, painted in black gouache with highlights, on blue-green tinted paper, presented under glass. Two men and two women are depicted, their coiffures and costumes characteristic of the fashion of the late eighteenth century and the Directoire period. More precious than simple cut silhouettes, these painted effigies render with finesse the details of the faces, hair and fabrics. Each portrait is presented within a brown fillet and united in a single mount. The ensemble is preserved in a giltwood frame adorned with carved friezes and palmettes. Good overall condition. Wear and patina of time.

Oil on panel depicting the bust-length portrait of an elegant lady, wearing a blue low-cut gown and adorned with a necklace. Her powdered coiffure, embellished with green ribbons, illustrates the refined fashion of the second half of the 18th century. The painting, executed on a dark ground, together with the treatment of the flesh tones, is evocative of a Germanic work. This treatment enhances the brilliance of the jewellery and the delicacy of the face. Presented in an antique giltwood frame with beading and moulded decoration, the work retains all its cabinet charm. Age craquelure, retouches. Good overall condition.

A remarkable pair of bedside tables (or sofa ends) in flamed mahogany veneer, representative of prestigious mid-twentieth-century Milanese cabinetmaking, in the manner of Paolo Buffa.

The veneer reveals a russet-orange shimmer with golden reflections that shift according to the light. The sides, sculpted in an inverted arch, lend the whole a remarkable lightness despite the presence of the material. Four tapered legs terminate in conical feet of cast brass.

Each piece is fitted with a drawer featuring a two-tone façade — a band of pear wood stained black, a noble substitute for ebony, set against a warm mahogany ground — closed by an elegant ogee cut-out. The cast brass handle, shaped as a flattened gondola, is characteristic of the decorative vocabulary of northern Italy in the 1960s. The top, covered with black églomisé glass, is surmounted by an open gallery with a clear glass shelf edged in green.

Sold as a pair only.

Very good overall condition. Veneer intact, drawers functional. Slight traces of use consistent with age.

Exceptional Highboard-type storage cabinet (tall sideboard) designed in the 1960s by the celebrated Belgian designer Oswald Vermaercker. This centrepiece perfectly embodies the golden age of Belgian modernist design and the Scandinavian refinement that strongly influenced Belgian creation during the mid-twentieth century.

Quality of Materials and Woodwork:
This piece stands out through the use of a Rio rosewood (Brazilian Rosewood) veneer of remarkable quality. The wood’s grain — dark, contrasting and deeply expressive — has been meticulously selected and applied in “book-matched” fashion on the doors and the top surface. The flamed patterns of the rosewood lend this piece a unique sculptural presence and a highly decorative dimension.

Design and Features:

The cabinet presents a superb geometric façade divided into two distinct sections:

• Upper section: Opens by two hinged doors onto a fitted interior, comprising shelves and removable vertical dividers, ideal for use as a bar or writing cabinet.

• Lower section: Fitted with two sliding doors that optimise space, revealing wide adjustable storage shelves.

The signature detail lies in its handles: magnificent rectangular finger pulls, sculpted in relief directly from the solid wood, typical of Oswald Vermaercke’s craftsmanship. The whole rests on a slender, tapered sledge base, which brings an impression of airy lightness elegantly contrasting with the robustness of the cabinet’s body.

This piece is in excellent original condition. The original varnish has retained all its lustre, revealing the superb natural, warm patina of the rosewood. Structure perfectly sound and stable. The doors and sliding mechanisms operate smoothly. Rare, minimal traces of use consistent with its age. Excellent condition, very fine patina.

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An important and rare ritual censer of rectangular form in hardwood carved in relief, retaining superb remains of polychromy and Cinnabar-style red lacquer.

This ceremonial vessel of exceptional dimensions, intended for incense offerings upon a major altar or within a temple, is distinguished by the power of its lines and the quality of its sculpted elements.

The two impressive lateral handles, of undulating inverted S-form, give the piece its full presence. They are carved in low relief with a scroll of blossoming lotus flowers, the Buddhist symbol of purity.

The censer rests on four vigorous feet, sculpted in the round with the heads of protective mythical creatures, heightened with red lacquer.

The body presents ogee-moulded panels of great structural sobriety, elegantly contrasting with the exuberance of the handles and the feet.

One of the lateral sides of the body bears a rare ritual inscription incised with six sinograms, perfectly integrated into the patina of the wood. Translation: “Respectfully offered by (or in memory of) Yu Lin Shizhang”.

This nominative dedication attests that this censer is an object of worship and devotion, commissioned by a family or a scholarly devotee.

Weight: 7.600 kg

Rare pair of monumental lamps in glazed stoneware, the work of the Florentine ceramicist Marcello Fantoni (1915–2011), one of the leading figures of twentieth-century Italian art ceramics, whose pieces are held in the permanent collections of the Metropolitan Museum of Art, the Victoria & Albert Museum and the Museo Internazionale delle Ceramiche in Faenza.

The hand-thrown ovoid bodies display a poured glaze of remarkable chromatic subtlety: the creamy, frosted white of the crown melts through a gradient into a bluish grey, then a deep midnight blue, punctuated by ashen streaks. Flecks of pyrite and textured crystalline effects (characteristic of Fantoni’s explorations of materials) enrich the surface, at once granular and luminous, revealing Fantoni’s mastery in the working of fire.

Each piece is signed by hand on the underside.

The electrification has been entirely renewed by a professional (new socket and wiring). The cylindrical shades in natural ecru fabric were made to measure by a shade-maker from the Decorative Arts sector, in perfect harmony with the tonality of the ceramics.

A lively and poetic watercolour entitled La Place des Vosges, executed by the artist Thérèse Hummel (1896-1967).

In this balanced composition, the artist captures the joyful atmosphere of the famous Parisian square. One finds there the emblematic 17th-century architecture with its pink brickwork and verdant slate roofs, bordering the central garden structured around its monumental fountain and lime tree walks.

In the foreground, children play with a ball, stroll and amuse themselves near the basin, watched over by elegant figures seated on the square’s benches. Thérèse Hummel employs a fresh and rhythmic palette, dominated by the deep green of the vegetation and the ochre pink of the façades and paths, enhanced by small white dots suggesting gravel or light. The spontaneity of the ink line combines perfectly with the delicacy of the watercolour washes.

An intimate figure of the Parisian artistic circles of the first half of the 20th century, Thérèse Hummel belongs to that generation of independent female artists who evolved at the heart of modernity.

Close to the great names of the Montparnasse and Montmartre avant-garde, she shared privileged bonds of friendship with Jeanne Hébuterne, Amedeo Modigliani and Pablo Picasso. Immersed in this exceptional creative effervescence, her work is characterised by a remarkable plastic freedom, combining the poetry of everyday life, simplification of forms and expressiveness of colour.

Her works, sought-after and rare on the market, constitute a precious testimony to the creative spirit of the École de Paris.

The work benefits from a high-end presentation with a bespoke museum-quality conservation framing:
Museum-quality glass: anti-reflective and UV-filtering.
Art framing: executed by a leading Parisian atelier.

Signed lower left.

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Large contemporary portrait by the Thai artist Silawit Poolsawat, renowned for his powerful and sensitive works. Asian Beauty captures the delicacy and depth of an Asian female face, in a composition that blends realism, subtle transparencies and dreamlike atmospheres. Silawit Poolsawat’s paintings are inspired by women and children he has encountered during his travels, whose expressions have left a profound impression on him. Signed lower right. Framing: mounted on an aluminium stretcher, ready to hang.

Charming and luminous watercolour entitled Les amoureux, place de la Comédie, executed by the artist Thérèse Hummel (1896-1967).

The artist deploys a synthetic graphic style of great modernity, playing elegantly with a contrasted and masterfully controlled chromatic palette: the verdant green of the foliage and architectural elements answers the vibrant red-orange of the silhouettes and stylised street lamps.

In the foreground, a group of pigeons pecks at the square, lending a beautifully lively and poetic dynamic to the scene. In the background, the pair of lovers strolls near the fountain and the street lamps, before the imposing Parisian façades. The precision of the line combined with the lightness of the washes bears witness to the artist's remarkable plastic mastery.

An intimate figure of the Parisian artistic circles of the first half of the 20th century, Thérèse Hummel belongs to that generation of independent women artists who evolved at the heart of modernity.

Close to the leading names of the Montparnasse and Montmartre avant-garde, she shared privileged bonds of friendship with Jeanne Hébuterne, Amedeo Modigliani and Pablo Picasso. Immersed in this exceptional creative effervescence, her œuvre is characterised by a remarkable plastic freedom, combining the poetry of the everyday, simplification of forms and expressiveness of colour.

Museum-quality framing custom-made by a leading Parisian atelier: anti-reflective, UV-filtering glass.

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A luminous oil on heavy card (historic Canson & Montgolfier support) depicting an intimate studio scene: a table laid for tea with its samovar, ceramic cups and a box of matches.

The work bears witness to the superb technical mastery of Henri de Saint-Delis, an emblematic figure of the École de Rouen and of Honfleur. The artist deploys a modern touch, generous in impasto, inherited both from Norman Impressionism and from the chromatic freedom of Fauvism. The white cloth, sculpted by light, shimmers with bluish and mauve reflections characteristic of his finest manner. The impasted, vibrant brushwork and the chromatic range of ochres, blues and powdery pinks are typical of the artist’s style, having trained in Le Havre alongside Othon Friesz, Raoul Dufy and Georges Braque, before settling permanently in Honfleur where he would paint the greater part of his œuvre.

Signed lower.
Work authenticated by the Cabinet Marc Ottavi, Paris (approved C.V.V. expert, specialising in nineteenth- and twentieth-century paintings).

Support: The reverse bears its original label from the manufacturer Canson & Montgolfier (No. 347, moiré grain), a precious mark of the period.

Framing: Presented in a period-style moulded and gilded wooden frame, enhanced by an elegant burgundy velvet Marie-Louise which perfectly underscores the warm tones of the background.

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Wall light by the French designer Louis Sognot, emblematic of the organic modernism of the 1950s.

Bent rattan structure forming an elegant curvilinear handle supporting a lantern / cage.

Cylindrical inner shade in original ecru fabric filtering a soft, subdued light.

Original socket.

Very fine original condition.

Important original colour lithograph conceived in the form of a narrative triptych, a major subject in the artist’s œuvre.

The composition is organised around a pared-down central panel dominated by a slender, hieratic figure (recalling the world of Don Quixote or the Preacher), flanked by two expressionist scenes rendered in powerful tones of ochres, dark earths and deep blacks.  

The work bears witness to Garouste’s fascination with sacred texts and the Hebrew language, incorporating two handwritten philosophical passages drawn from the biblical Book of Ecclesiastes (signed with its Hebrew name, Gohélet / Qohélet):  

On the left (Gohélet I, 17): “And I have seen life, one day evil to me, is the work that has been done under the sun, for all is vanity and pasture of the wind.”  

On the right: “For who has remembrance of the wise man with the fool for ever, since in the days to come all is already forgotten. And how the wise man dies with the fool.”  

Institutional reference: A similar impression from this same edition is held in the national collections of the Centre Pompidou / Musée National d’Art Moderne (inventory no. AM 2022-64).  

Original colour lithograph on heavy wove paper.  

Numbered 35 / 50 in pencil (highly confidential edition of only 50 impressions).  

Signed in pencil with the artist’s official monogram “MG” lower right.      

Excellent state of preservation, with remarkable freshness of the pigments.  

Museum framing: Exceptional bespoke presentation carried out by a leading Parisian workshop.

Float mount in a box frame: the work is fixed in a reversible manner, revealing the entirety of the deckled edges of the paper.   Cherrywood box-profile moulding, neutral conservation backing and museum-quality glass (anti-reflective and UV-protective).