Our Collection

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 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).

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.

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.

Remarkable pyramidal lamp base of square section, hewn from a block of unfilled Roman travertine displaying its characteristic horizontal veining, alternating warm ochre and beige.

The surface retains its natural cavities, a deliberate treatment that lends the piece its sculptural power and firmly situates it within the brutalist and mineral aesthetic of Italian design of the 1970s.

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

Original label present: AREA Illuminazione, a transalpine manufacturer renowned for its luminaires in fine natural stone.

Later shade. Ivory white.

Very good overall condition.

Functional electrical fittings.

Large Louis-Philippe period overmantel mirror in moulded and gessoed wood, gilded with gold leaf on red bole. Rounded upper corners and straight base, the characteristic signature of this French production from the third quarter of the nineteenth century.

The principal moulding displays a finely incised radiating fluting, rhythmed along its edge by a frieze of beading.

The whole rests on a wide smooth flat band. The original mercury glass, with its foxing, unambiguously attests to the antiquity of the piece.

Period backing in assembled pine planks at the reverse.

The gilding, almost entirely preserved, allows the underlying red bole to appear in places, a trace of the traditional fine gold work of nineteenth-century French gilders, lending the piece a luminous and warm patina.

Fine overall state of conservation.

Wear consistent with age and use.

France, nineteenth century

Louis-Philippe overmantel mirror (circa 1850) displaying the characteristic silhouette with rounded upper corners (known as “à épaules”, or shouldered).

The wood and stucco frame is adorned with its original gold-leaf gilding, presenting a beautiful patina. This model is distinguished by its principal moulding decorated with a frieze of engraved cross-hatching, a classic and understated motif which lends a geometric finesse to the whole. The inner border is underlined by a row of smooth beading accentuating the relief of the frame.

The mirror plate is original, offering that deep lustre particular to period mirrors.

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

The red bole is visible in places beneath the gilding, attesting to traditional gilding techniques.

In fine state of conservation.

Spectacular pair of Mid-Century “gourd” or “bottle” shaped vases in silver plate, with pure and organic lines. These pieces are distinguished by their generous proportions, notably the larger model reaching 58 cm in height, making them striking decorative objects of the first order. Beneath the base, each vase bears the stamp of the prestigious Italian house “Jordan Sheffield Collection” — maison Jordan-Silverado, based near Rome. The name Jordan refers to the family of Italian designers Antonio Jordan. The mention of Sheffield does not indicate a British origin, but rather guarantees a high-quality silvering technique, inherited from traditional craftsmanship. These pieces reflect Italian design of the 1970s–80s, combining the classical elegance of silverware with highly modern minimalist forms. Very fine visual appearance. Traces of use, patina of use. Italy, 20th century

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

The teak veneer, with its warm and luminous tones, has been carefully selected, showcasing a fine and regular grain.

The remarkable feature of this piece lies in its transformable mechanism:

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

- The sliding panel extends towards the user, forming a functional surface (dressing table or writing slope)This ingenious arrangement, typical of 1960s design, perfectly illustrates the quest for optimised space and versatility: a piece at once discreet and transformable, 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. Here one finds:. Pure lines and balanced proportions. Restraint in ornamentation. The pursuit of intelligent and modular use. Quality of execution and attention to detailThis piece bears witness to a design that is both elegant and pragmatic.

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

A very fine beach scene by Yves Wacheux, a 20th-century painter, depicting a group of figures on the sand facing the sea, in a soft and slightly veiled atmosphere. The artist captures a simple, silent moment of life, in which adults and children share the space between the sea and the dunes. The composition is built up through broad areas of colour, dominated by blues, beiges and whites, creating a diffuse, almost misty light that evokes an off-season beach or a late afternoon. The figures are rendered with softened contours, lending the scene great poetry and an impression of absolute calm. The particularly subtle handling of colour and light conveys the artist’s sensibility. Work signed lower right. Presented in a wooden frame with geometric decoration.

Oil on panel depicting the bust-length portrait of an elegant lady, wearing a low-cut blue dress 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, and the treatment of the flesh tones evoke a Germanic work. This treatment enhances the brilliance of the jewellery and the delicacy of the face. Presented in an antique giltwood frame with pearl and moulded decoration, the work retains all its cabinet charm. Age craquelure, retouches. Good overall condition.