Our Collection

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

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

Original cylindrical inner shade in ecru fabric, diffusing a soft, subdued light.

Original bulb holder.

Very fine original condition.

A sparkling and luminous watercolour heightened with ink and touches of gouache, entitled Le Marché aux fleurs, executed by the artist Thérèse Hummel (1896-1967).

The scene transports us to the heart of a bustling Parisian flower market (evoking the banks of the Seine, with the bridge and towers of the Conciergerie silhouetted in the background). Beneath covered arbours, a profusion of pots, bouquets and floral arrangements bursts forth in touches of vivid colour: poppy orange, soft pink, pure white and deep greens.

Amidst this floral setting, several figures are busy at work: a florist in an apron advises an elegant lady in a pink dress, other strollers choose their bouquets, whilst an elegant gentleman in a dark suit and hat walks away in the centre, a generous bouquet under his arm. The composition is crowned by a poetic sky tinged with pink, across which small cottony clouds drift. Here, Thérèse Hummel unfolds all the freshness of her palette and the graphic freedom so characteristic of her œuvre.

Biography / About the artist

Thérèse HUMMEL (1896-1967)

An intimate figure within the Parisian artistic circles of the first half of the 20th century, Thérèse Hummel belongs to that generation of independent female artists who moved at the very 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 work is characterised by a remarkable plastic freedom, combining the poetry of everyday life, a simplification of form and an expressive use 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 bespoke museum-quality framing: anti-reflective, UV-filtering glass.

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A most 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 celebrated Parisian square. One recognises the emblematic 17th-century architecture with its pink brickwork and verdant slate roofs, framing the central garden structured around its monumental fountain and its avenues of lime trees.

In the foreground, children play with a ball, stroll and amuse themselves near the basin, watched over by elegant figures seated on the benches of the square. Thérèse Hummel employs a fresh and rhythmic palette, dominated by the deep green of the vegetation and the ochre pink of the façades and pathways, enhanced by small white touches evoking the gravel or the play of light. The spontaneity of the ink line unites 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 moved at the very heart of modernity.

Close to the great names of the avant-garde in Montparnasse and Montmartre, 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 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 frame:
Museum-grade glass: anti-reflective and UV-filtering.
Art framing: executed by a leading Parisian atelier.

Signed lower left.

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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 upon 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 streetlamps.

In the foreground, a group of pigeons pecks about the square, lending a lively and poetic dynamic to the scene. In the background, the pair of lovers strolls near the fountain and streetlamps, before the imposing Parisian façades. The precision of the line combined with the lightness of the washes bears witness to the artist’s great 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 female 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 work is characterised by a remarkable plastic freedom, combining the poetry of the everyday, simplification of forms and expressivity of colour.

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

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

This cult vessel of exceptional dimensions, intended for incense offerings on a principal altar or within a temple, is distinguished by the strength of its lines and the quality of its carved elements.

The two impressive lateral handles, of animated inverted-S form, lend the object its full presence. They are carved in low relief with a scrolling frieze of blossoming lotus flowers, the Buddhist symbol of purity.

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

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

One of the lateral sides of the body bears a rare incised ritual inscription of six Chinese characters, 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 lettered devotee.

Weight: 7,600 g

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.

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 tablecloth, sculpted by light, vibrates 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 characteristic of the artist’s manner. He 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 Cabinet Marc Ottavi, Paris (approved C.V.V. expert, specialising in nineteenth- and twentieth-century paintings).

Support: on the reverse, the original manufacturer’s label of Canson & Montgolfier (No. 347, moiré grain), a precious period token.

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

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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.

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

The composition is arranged around a pared-down central panel in which stands a slender, hieratic figure (evoking the world of Don Quixote or the Preacher), flanked by two expressionist scenes in powerful tones of ochre, 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, a day for me evil, is the work done under the sun, for all is vanity and pasture of the wind.”  

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

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

Excellent state of preservation, with beautifully fresh pigments.  

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

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

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 faces, calligraphic inscriptions in black ink under the glaze, executed with the brush with remarkable gestural flair — names of trading houses and merchant quarters (Yūkiya, Rokkōmachi) characteristic of the commercial production of the Meiji–Taishō era. Body in stoneware with a slightly sanded ivory glaze, banded neck, squat ovoid form.

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

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

Gilt brass socket. Conical natural linen shade included.

Available individually: €500 each

Pair of lamps with a rectangular base in solid crystal, Lynx model, created in 1973 by the sculptor Jean-Pierre Demarchi, then artistic director of the Daum crystalworks.

The crystal, hollowed into a biomorphic form of symmetrical scrolls, is enhanced by a column of white opaline crystal on one of the two bases and 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 applique captures the light with striking sculptural presence, faithful to Demarchi’s approach, which regarded crystal as a material in its own right, on 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.

Nine mouth-blown glass discs, each featuring a satin white opaline heart encircled by a ring of clear 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 illuminated, a diffuse, warm and luminous halo of great softness and great 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.

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 ateliers of the decade.

The rectangular section with bevelled edges lends the whole an assertive sculptural character. The chromed metal sphere articulating the stem and the socket, together with the cylindrical shade in brushed silvered metal, sit squarely within 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 atelier of the 1970s.
Side wiring.

Origin: Italy, circa 1970

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A 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-shaped ovoid bodies display a poured glaze of remarkable chromatic subtlety: the creamy, frosted white of the summit melts by gradation 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 to the underside.

The wiring has been entirely renewed by a professional (new socket and cabling). 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 fine coffee table designed by Mario Marenco for Mobilgirgi, Italy, 1970s.

Crafted 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 of sturdiness and lightness. The texture of the oak, the knots in the wood and the carefully rounded edges bear witness to superior craftsmanship.

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

Italy, 1970s.

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Large Italian majolica centrepiece in the Neo-Rococo style, depicting three Putti supporting a wide shell-shaped bowl, resting on a triple scrolling shell adorned with stylised polychrome foliage.

The naturalistic decoration and polychromy are typical of Italian decorative production of the late 19th century, in the tradition of the Capodimonte or Bassano workshops. Majolica with thick glaze, polychrome decoration. Finely modelled faces. Highly sculptural base.

Beautiful presence and a piece of generous proportions.

Italy, late 19th – early 20th century

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).