Our Collection

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

The composition is arranged around a pared-down central panel featuring an elongated, hieratic figure (evoking the world of Don Quixote or the Preacher), flanked by two expressionist scenes 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, on a day evil for me, is the work that has been done under the sun, for all is vanity and a chasing after the wind.”  

On the right: “For who remembers the wise man with the fool for ever, since in the days to come all is already forgotten. And how shall the wise man die 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 (a very confidential edition of just 50 impressions).  

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

Excellent state of preservation, with a very fine freshness of pigments.  

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

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).

Pair of lamps with rectangular bases in solid crystal, Lynx model, designed in 1973 by the sculptor Jean-Pierre Demarchi, then artistic director of the Daum crystal works.

The crystal, hollowed with a biomorphic form of symmetrical scrolls, is enhanced by a column in white opaline crystal on one base and in brown crystal on the other — a variation in tone that distinguishes each piece without breaking the unity of the pair.

The interplay between the transparency of the crystal and the matte finish of the central inset captures light with striking sculptural presence, faithful to Demarchi’s approach, which regarded crystal as a material in its own right, on a par with bronze or stone.

The strength of this pair lies in its bold chromatic and textural contrast.

Signed Daum France on each base.

Newly rewired to current standards by a professional.

Architectural bookcase composed of articulated wooden modules with parallel slats, assembled by metal pivots.

The accordion folding system allows flat storage and free reconfiguration: stepped, symmetrical or asymmetrical, according to the space and use.

Wooden structure, fine period patina, original hardware.

Nine compartments in standard configuration.

A rare piece of 1970s Italian design.

Pair of lamps mounted on sake jars (tobin) in grey-white glazed stoneware, Japan, first half of the 20th century.

Each jar bears, on several sides, calligraphic inscriptions in black ink under the glaze, executed with the brush with remarkable gestural flair — names of trading houses and merchant districts (Yūkiya, Rokkōmachi) characteristic of the commercial production of the Meiji–Taishō era. Body in stoneware with a lightly grogged ivory glaze, ringed neck, squat ovoid form.

Traces of wear and natural patina consistent with age and original use.

Entirely new electrical wiring, carried out by a professional electrician in accordance with current French standards.

Gilt brass socket. Conical natural linen shade included.

Available individually: €500 each

Rare pair of monumental lamps in glazed stoneware, the work of Florentine ceramist 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-formed ovoid bodies display a poured glaze of remarkable chromatic subtlety: the creamy, frosted white of the summit fades gradually into a bluish grey and a deep midnight blue, punctuated by ashen streaks. Flecks of pyrite and textured crystalline effects (characteristic of Fantoni’s material experiments) enrich the surface, at once granular and luminous, revealing Fantoni’s mastery of firing.

Each piece is signed by hand on the reverse.

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 of the Decorative Arts trade, in perfect harmony with the tonality of the ceramics.

Rare set of three blown Murano glass wall lights attributed to Seguso, Murano.

Each wall light is composed of glass flowers with gold powder inclusions, assembled one by one onto a metal grid, creating a dense and luminous textured effect with golden reflections.

Venetian work, circa 1960–1970.

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

Sold as a set of 3 pieces — not separable.

Nine hand-blown glass discs, each featuring a satin white opaline heart encircled by a ring of transparent crystal — such is the visual grammar of these wall lights from the Vistosi glassworks, one of the founding houses of Murano lighting.

Mounted on their original white lacquered metal structure, the discs reveal, when lit, a diffuse, warm and luminous halo of great softness and elegance.

An iconic signature of twentieth-century Italian design.

A doubly rare piece: for its generous square format and for the fact that it is presented as a matching pair, intact.

Sold as a pair.

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 remarkable Italian table lamp from the 1970s, a period of creative effervescence during which transalpine design established itself as a global benchmark. The monolithic stem in cast translucent acrylic, of intense amethyst hue, presents bubble inclusions trapped within the mass during casting — an artisanal process characteristic of the finest Italian workshops of the decade.

The rectangular section with bevelled edges lends the whole a distinctly sculptural character. The chromed metal sphere articulating the stem and the socket, together with the brushed silvered metal cylindrical shade, are wholly in keeping with the formal vocabulary of the Italian Space Age, in the spirit of the creations of Romeo Rega.

Unsigned piece, attributable to a Milanese or Venetian design workshop of the 1970s.
Lateral wiring.

Origin: Italy, circa 1970

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A central figure of Surrealism, André Masson was one of the inventors of automatic painting — a freedom of gesture that would directly influence Pollock and American Abstract Expressionism. His graphic œuvre, poised between myth, metamorphosis and vital energy, is today held in the world’s foremost collections.

“Rencontre” is a striking illustration of this: against a grainy violet-grey ground, fluid white lines conjure animal silhouettes, fragmented faces and archaic symbols in a swirling dance. Automatism in its purest state.

Original colour print, signed in pencil, numbered 4/50. Laid paper with deckle edges.

Image: 29.5 × 20.5 cm — Sheet: 47.8 × 35 cm.

Framed under glass by a leading Parisian atelier.

Walnut frame: 52 × 39 × 3 cm

A rare wheeled occasional drinks cabinet known as a Dry Bar Cart, an emblematic creation by the celebrated Milanese architect and designer Carlo di Carli (1910-1999) for the prestigious Italian editor FARM (Scorzè), circa 1960/1965.

This piece is distinguished by the masterly use of thermoformed bent wood, the editor’s speciality, offering lines of organic and fluid purity. Conceived to be both functional and mobile, it stands on original castors discreetly concealed beneath its base, allowing it to be moved with ease about a drawing room.

Two large curved doors open to reveal suspended semi-circular shelves, fitted with original silvered metal retaining straps to secure glasses and decanters.

The front opens by means of a fall-front fitted with an articulated mechanical stay. It reveals a generous central compartment lacquered in white, specially designed to store bottles upright in complete safety. In the lower section, a wide concealed drawer is harmoniously integrated into the plinth for the storage of bar accessories.

As the rear of the cabinet benefits from the same carefully applied veneer as the front, this bar may be used at the centre of a room or at the end of a sofa.

Materials: blond walnut veneer, service surfaces in laminate/white lacquer, original stay and fittings.

Excellent overall condition, smooth mechanism, functional castors. Light oxidation on the hinge metalwork commensurate with its age (see photograph).

A veritable column of light, this exceptional piece embodies the quintessence of mid-twentieth-century Venetian lagoon craftsmanship. The dialogue between the solid crystal and the generous inclusions of gold leaf creates a chromatic vibration of rare intensity, characteristic of the Rugiadoso technique. The architectural silhouette, punctuated by a succession of eleven gadrooned and tapered sleeves, culminates in a majestic corolla that magnifies the diffusion of light. Its sculptural presence and gilded patina make it a historic milestone of prestigious Italian design. The gallerist’s advice: This monumental light fitting is the ideal piece for an architect’s office project seeking to punctuate a reception space with great ceiling height. For a striking contrast, it will integrate perfectly within a Minimalist Chic interior or alongside a Scandinavian rosewood sideboard, where its brilliance will warm the sober lines of Nordic furniture. Its imposing stature also allows it to be used as a focal point in a Hollywood Regency-inspired drawing room, bringing a touch of erudition and elegance. Materials: mouth-blown Murano crystal, internal inclusions of fine 24-carat gold, internal structure and connecting rings in gilded brass. Museum-quality state of preservation; the crystal shows no chips, no cracks and no restoration. Original electrical system serviced and functional. Period: Circa 1960 (Mid-Century Modern period). Italy, Murano, Barovier & Toso Manufactory

An elegant hexagonal porcelain vase decorated in “Blue and White”, dating from the late Meiji period (circa 1890-1910).

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

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

The hexagonal form, rarer and more sought-after than classical cylindrical shapes, offers captivating plays of light across the facets, making it an ideal decorative object for a contemporary setting or for mounting as a fine lamp.

In fine overall condition.

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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 intricate moulded prismatic glass pattern, with grid and striated motifs typical of the historic urban luminaires of Paris.

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

A true sculpture of light, at the crossroads of industrial design and modernism.

Some traces of age on the glass.

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Large blown and cut crystal vase, 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 would give rise to Kosta Boda AB in 1976.

The vase displays 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 bearing witness to the high lead content characteristic of the 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, the interplay of mass and transparency, the geometric treatment of surfaces — fits squarely within the nascent Nordic modernism of the post-Second World War years.

Good overall condition for a piece of this age. One will note a small chip on the base as well as two minuscule nibbles on one of the edges, without affecting the aesthetic legibility of the whole.

Engraved with a point beneath the base: Boda 1947

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

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

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

Sold as a pair only.

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

An exceptional Highboard 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 for its use of Rio rosewood veneer (Brazilian Rosewood) of remarkable quality. The wood grain — dark, contrasting and deeply expressive — has been meticulously selected and applied in “book-matched” fashion  across the doors and the top. The flame-like figuring of the rosewood lends 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 via 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, carved directly into the solid wood, typical of Oswald Vermaercke’s craftsmanship. The whole rests on a slender, tapered sledge base, which lends an airy lightness elegantly contrasting with the robustness of the cabinet 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 runners operate smoothly. Only minimal traces of use commensurate with its age. Excellent condition, very fine patina.

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A rare set of three monumental traditional Japanese dolls in turned wood, known as Kokeshi Dentō. Originating from the mountainous Tōhoku region in the north of the archipelago, these sculptures of refined design embody the very essence of the Mingei folk art movement.

Their presence is all the more remarkable here owing to their monumental format (over 60 cm in height), a size rarely encountered for this type of artisanal piece, making them true collector’s objects for interior decoration or architectural display. Each piece is signed or stamped beneath its base by the master turner who fashioned it.

‍Lot details (from left to right):

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

2. Naruko style Kokeshi (H. 61 cm): Displaying the cream tone of traditional wood, this piece features a voluminous head assembled according to the traditional technique and an elegantly waisted silhouette. The painted floral decoration is accompanied 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 centrepiece of the lot through its sheer presence. It bears a powerful design depicting a great radiating chrysanthemum painted in bold strokes. On the reverse, the base carries a long calligraphed honorific inscription indicating that it was awarded the Prize of the Japanese Ministry of Labour, a most prestigious official distinction recognising the high quality and craftsmanship of the artisan.

Fine overall condition for pieces of this size and period. The wood is sound, heavy and stable. The original colours and pigments have remained wonderfully warm, complemented by a superb natural patina. Light marks, minor superficial scratches and slight discolouration consistent with use, entirely in keeping with their age and authenticity.

An exceptional and rare three-handled vase by the master ceramicist Jean Gerbino. This piece is a masterful testament to the savoir-faire of Vallauris during its ‘golden age’. The originality of this work lies in the technique of mosaic clays, a unique process developed by Gerbino after fifteen years of research. It is not a painted decoration, but a true marquetry of clays coloured throughout the mass, meticulously assembled prior to throwing. The decoration comprises a wide central frieze featuring polychrome Compass Roses (or Wind Roses), surrounded by intricate registers of chequerboards and organic motifs in turquoise, ochre and umber tones. An exceptional piece of rare dimensions, this vase stands apart from the workshop’s usual production. The precision of the mosaic joins and the refinement of the glaze attest to a very high quality of execution. The piece is in perfect condition, with no chips or hairline cracks. Signature: stamp beneath the base ‘Gerbino’ ‘Vallauris (AM)’. About the artist: Jean Gerbino (1876-1966) is one of the most prestigious names in twentieth-century French ceramics. Grand Prix of the Boulle Exhibition in 1931, he created a style instantly recognisable, blending the art of ancient mosaic with modernity of form. France, 20th century, circa 1950.