Our Collection

An exceptional Highboard storage cabinet designed in the 1960s by the celebrated Belgian designer Oswald Vermaercke. This masterpiece perfectly embodies the golden age of Belgian Modernist design and the Scandinavian refinement that strongly influenced Belgian production in the mid-20th century.

Materials and Woodwork:
This piece is distinguished by a remarkable Brazilian Rosewood veneer. The dark, contrasting, deeply expressive grain has been meticulously selected and applied in book-matched panels  on the doors and top. The flamed figuring of the rosewood gives this piece a singular sculptural presence and a markedly decorative quality.

Design and Features:

The piece presents a striking geometric façade divided into two distinct sections:

• Upper section: opens with two hinged doors onto a fitted interior with shelves and removable vertical dividers, ideal for use as a bar or secretary.

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

The signature detail lies in the handles: superb rectangular finger pulls, hollow-carved directly into the body of the wood, typical of Oswald Vermaercke's craftsmanship. The whole rests on a slender, tapered sledge base, lending an impression of airy lightness that elegantly contrasts with the robust body of the cabinet.

This cabinet is in excellent original condition. The original finish has retained all its lustre, revealing the rosewood's superb warm natural patina. Structurally sound and stable. Doors and runners operate smoothly. Only minor signs of age-appropriate use. Excellent condition with a fine patina.

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A rare set of three monumental traditional Japanese hand-turned wooden dolls, known as Kokeshi Dentō. Originating from the mountainous Tōhoku region in the north of the archipelago, these sculptures embody the very essence of the Mingei folk-art movement through their pure, restrained design.

Their presence is particularly remarkable here owing to their monumental format (over 60 cm in height), a rare scale for this type of artisanal work that elevates them into genuine objects of interior or architectural collection. Each piece is signed or stamped beneath the base by the master turner who shaped it.

‍Lot detail (from left to right):

1. Yajirō-style Kokeshi (H. 60 cm): This model is distinguished by the use of a wood with strikingly graphic, pronounced natural grain. The cylindrical body is adorned with stylised hand-painted camellia (tsubaki) motifs in green and red pigments, framed by the characteristic concentric lines. Calligraphic signature beneath the base.

2. Naruko-style Kokeshi (H. 61 cm): Displaying the cream tone of traditional wood, this piece presents a voluminous head assembled according to the traditional technique and an elegantly tapered silhouette. The painted floral decoration is complemented by broad bands of red pigment at the shoulders and base. Artisan's seal beneath the base.

3. Large Monumental Tōgatta-style Kokeshi (H. 62 cm): The masterpiece of the lot through its sheer presence. It features a powerful graphic design depicting a large radiating chrysanthemum painted in bold brushstrokes. On the reverse, the base bears a long honorific calligraphic inscription stating that it received the Japanese Ministry of Labour Prize, a highly prestigious official distinction rewarding the artisan's craftsmanship and quality.

Fine general condition for pieces of this size and period. The wood is sound, weighty and stable. The original colours and pigments have retained their warmth, complemented by a superb natural patina. Light marks, minor surface scratches and slight discolourations of use are entirely consistent with their age and authenticity.

A remarkable pyramidal table lamp base of square section, carved from a block of unfilled Roman travertine with its characteristic horizontal veining alternating warm ochre and beige.

The surface retains its natural alveoli, a deliberate treatment that gives the piece its sculptural force and firmly places it within the Brutalist, mineral aesthetic of Italian design of the 1970s.

The shaft narrows progressively from base to crown in an obelisk-like movement of great geometric rigour.

Original label present: AREA Illuminazione, an Italian manufacturer renowned for its quality natural-stone lighting.

Lampshade later. Ivory white.

Very good general condition.

Electrical installation in working order.

A five-branch candelabrum in stoneware, an emblematic example of the Brutalist movement of the 1960s-70s. The piece is distinguished by its organic, sculptural character, evoking arboreal or primitive anthropomorphic forms.

The treatment of the material is remarkable: an earthy glaze in ochre-brown tones with a rough, scarified texture that catches the light. The circular base, pierced with almond-shaped openings, anchors the visual balance while reinforcing the architectural quality.

This work fits naturally within the tradition of La Borne ceramics or the practice of artists such as Robert Deblander and the Accolay workshop in its most raw productions. It bears witness to a return to source materials and the hand of the maker characteristic of the second half of the 20th century.

The base bears two felt-tip marks covering a 'Calsat' signature.

A rare set of three wall sconces in blown Murano glass attributed to Barovier & Toso.

Each sconce is composed of glass flowers with gold-powder inclusions, assembled one by one on a metal grid, creating a dense and luminous textured effect with gilt reflections.

Venetian work, circa 1960-1970.

Condition: very good general condition. One flower missing on one of the sconces, barely perceptible. The other two in perfect condition.

Sold as a set of 3 pieces — non-separable.

A unique collector's piece for connoisseurs and enthusiasts of industrial and Space Age lighting. A genuine globe from the street furniture of the city of Paris, this characterful table lamp combines a chromed metal tulip-style base, emblematic of the 1970s, with a Holophane glass globe. The globe is remarkable for its complex prismatic moulded glass pattern, in grid and ribbed motifs, typical of the historic urban lighting of Paris.

This textured glass is not merely aesthetic; it is designed for optimal light diffraction, creating a soft yet shimmering ambience.

A true luminous sculpture, at the crossroads of industrial design and Modernism.

Some traces of age on the glass.

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

These lights are distinguished by a 'totem' structure composed of a stacking of different hand-blown glass elements, offering an interplay of textures and contrasts:

* White opaline glass: globes and a bombé 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 structuring the architectural silhouette of the whole. The mount and separating rings are in gilt brass, emphasising 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.

Electrical wiring fully overhauled and refurbished.

Presented here with conical lampshades in grey/green.

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 Louis-Philippe period mantel mirror (circa 1850) presenting the characteristic silhouette with rounded upper corners (known as 'shouldered').

The wood and stucco frame is gilded with original gold leaf, presenting a fine patina. This model is distinguished by its main moulding decorated with a frieze of engraved latticework, a classical and restrained motif lending a geometric finesse to the whole. The inner border is emphasised by a row of smooth reeding accentuating the relief of the frame.

The original mercury-glass plate offers that deep lustre characteristic of period mirrors.

The back of the mirror is entirely closed by its original wooden boarding.

The red bole appears in places beneath the gold, attesting to traditional gilding technique.

Fine state of preservation.

A pair of Satsuma vases with ovoid body and flared trumpet neck on a ring foot. Cream crackle-glazed stoneware, overglaze polychrome enamels and moriage, with gilt highlights.

Decoration organised in superimposed registers: principal faces animated with scenes of scholars and dignitaries in court robes within wooded gardens, the treatment of the faces of a quality superior to standard production. Associated symbolic motifs — peonies, chrysanthemums, pomegranates, pines — complemented by cartouches of lakeside landscapes on the shoulder and geometric brocade friezes as framing.

Handles in the round formed of dragons  enamelled turquoise holding gilt rings.

Floral neck decoration in moriage enamels. Pair in perfect match.

Double red square cachet beneath both bases.

Very good display condition.

An elegant hexagonal porcelain vase with 'Blue and White' decoration, dating from the late Meiji period (circa 1890-1910).

This vase presents a rich, balanced naturalistic decoration depicting peonies in full bloom — symbol of prosperity and nobility — together with butterflies, treated with great graphic finesse. The drawing is distinguished by a lively line and gradations of deep cobalt blue characteristic of Japanese productions from the Seto region intended for export.

The upper and lower registers are emphasised by intricate friezes of foliate scrolls and stylised lotus flowers, bringing classical structure and great elegance to the whole.

The hexagonal form, rarer and more sought after than classical cylindrical shapes, offers interesting interplays of light on the facets, making it an ideal decorative object for a contemporary setting or a high-quality lamp mounting.

Fine general condition.

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An elegant Italian mirror from the mid-18th century, in carved wood gilded with gold leaf.

The frame is adorned with a twisted moulding with oblique gadroons.

Openwork pediment with naturalistic decoration centred on a grape cluster in high relief, flanked by vine leaves with incised veins and sinuous asymmetrical tendrils, a Bacchic motif characteristic of Italian workshops of the mid-18th century.

The openwork lateral uprights are punctuated with water-leaves and terminate in scrolled bosses.

The base is composed of scrolled motifs with carved rosettes. Original mercury glass plate with foxing.

Old gilding largely preserved, revealing the red bole, natural patina.

Italy, 18th century

A remarkable lamp  in hammered and patinated wrought iron, in the Neo-Baroque floral style, Dutch production of the first half of the 20th century (circa 1930-1940).

This piece of wrought-iron art testifies to a rare technical mastery, combining two distinct skills: a central shaft in hand-worked wrought iron, and decorative elements in cast iron of great executional finesse.

The richly developed decoration composes an ascending vegetal bouquet articulated around acanthus leaves and naturalistic flowers — daisies and anemones — whose ribbed centres reveal a care for detail characteristic of bespoke workshops.

The trapezoidal fabric lampshade rests on its original iron mount. The damaged period parchment has been replaced with a copper/amber fabric in keeping with Dutch interiors of this period. Electrical system overhauled and functional.

A large vase in blown and cut crystal, signed and dated beneath the base 'Boda 1947'. A piece from the Boda Glasbruk manufactory (Sweden), predating the Erik Höglund period and the merger of the manufactories that gave rise to Kosta Boda AB in 1976.

The vase presents a slender form with thick walls, structured by six vertical ribs cut into the mass of the crystal, creating a remarkable optical effect of an inner cylinder suspended within the material.

Colourless crystal of exceptional purity and clarity, of significant weight attesting to the high lead content characteristic of quality productions of this period. In 1947, Boda Glasbruk was still an independent manufactory, producing pieces  in the great glassmaking tradition of Småland.

This pre-Höglund period is little documented and signed and dated pieces from it are rare. The formal vocabulary of this vase — architectural rigour, interplay of mass and transparency, geometric treatment of surfaces — fits squarely within the nascent Nordic Modernism of the post-Second World War era.

Good general condition for a piece of this age. A small chip on the base may be noted, as well as two minuscule nicks on one of the ridges, with no impact on the overall aesthetic legibility.

Engraved with the point beneath the base: Boda 1947

A large Louis-Philippe period mantel mirror in moulded and stuccoed wood, gilded with gold leaf on red bole. Rounded upper corners and straight base, the characteristic signature of this French production of the third quarter of the 19th century.

The main moulding develops a finely incised radiating reeded motif punctuated along its edge by a pearl frieze.

The whole rests on a broad smooth flatband. The original mercury glass plate with its foxing leaves no ambiguity as to the age of the piece.

Period boarding in assembled pine planks at the back.

The gilding, in place across virtually its entire surface, allows the underlying red bole to appear in places, a trace of the traditional fine-gold work of French gilders of the 19th century, lending the piece a luminous, warm patina.

Fine general state of preservation.

Wear consistent with age and use.

France, 19th century

A handsome coffee table designed by Mario Marenco for Mobilgirgi, Italy, 1970s.

Executed in solid oak, this table is distinguished by its four characteristic legs composed of rounded slats that rise above the top — an immediately recognisable signature of Mario Marenco's design.

The top rests between the legs in a perfect balance between robustness and lightness. The texture of the oak, the knots in the wood and the carefully rounded edges testify to a high quality of manufacture.

Very good general condition, patina of use consistent with the age of the piece.

Italy, 1970s.

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This piece takes the form of a compact chest of drawers resting on four slender compass legs, a signature of the 1950s-60s design. The façade, of great sobriety, is articulated by three drawers with recessed oval handles in contrasting black, lending a discreet, refined graphic touch.

The teak veneer, with warm luminous tones, has been carefully selected, highlighting fine and regular graining.

The remarkable feature of this piece lies in its convertible system:

- The top opens via a lift-up flap- The inner face of this flap is entirely fitted with a mirror- A second mirror is integrated into the lower section (top surface), creating an interplay of reflections and a genuine visual depth

- The sliding top extends towards the user, forming a functional shelf (vanity or writing surface). This ingenious device, typical of 1960s design, perfectly illustrates the search for space optimisation and versatility: a piece both discreet and convertible, conceived for modern interiors.

The work of Paul Geoffroy belongs to the current of post-war French Modernism, influenced by Scandinavian design and Functionalist principles. We find here: pure lines and balanced proportions; sobriety of ornament; the pursuit of intelligent, modular use; quality of execution and attention to detail. This piece testifies to a design at once elegant and pragmatic.

Traces on the silvering of the mirrors attesting to their authenticity.

FRANCK INNOCENT (1912-1983). Oil on canvas, signed and dated lower right, countersigned, titled and dated on the reverse. Dedication on the reverse. A member of the École de Rouen, this talented artist offers a unique vision through this canvas imbued with maritime poetry.

A very fine oil on canvas by the painter Franck Innocent, École de Rouen, depicting the Normandy countryside in spring. Signed and dated lower right, countersigned, titled and dated on the reverse. With dedication on the reverse: "à mon épouse, avec mes sentiments les plus respectueux et les plus reconnaissants. 31.12.78. Jean" and "A ma mère, à Vally, avec toute mon affection. Pierrot". Well framed.

An imposing oil on canvas, Spanish School, dating from the 19th century. This still-life painting depicts an abundance of fruit. A very fine frame alternating engraved giltwood and tinted waxed wood.