Our Collection

An elegant pair of pedestal columns in wood, with painted decoration in faux-marble trompe-l'œil. The central shaft imitates a beige-yellow marble with fluid veining, while the bases and upper tops evoke a black marble veined with white. Decorative work executed by hand in the 1970s in the spirit of revisited classical interiors. Perfectly stable and solid. Very good general condition. Weight: 11.500 kg each.

An elegant pair of lamps composed of seated Buddha sculptures in meditation, executed in finely moulded gilt cast iron. The figures display rich decoration with stylised floral motifs and retain a fine early patina. Each statue is mounted on a varnished wooden plinth on which rests an adjustable brass rod, supporting a double light, surmounted by a pagoda-shaped lampshade. The shades are original, their fabric having been restored to recover their full brilliance. The whole combines traditional art with contemporary functionality. Probable origin: Thailand. 20th century.

An elegant round guéridon in painted wood resting on a tripod base richly carved with volutes, beads and stylised shells, enhanced with gilt highlights. The central baluster shaft is adorned with gadroons and pearled motifs, in a Baroque and Rocaille spirit revisited in the 19th century. Later patina. The circular top is in painted wood decorated in faux marble in tones of brown and ochre, a sought-after decorative technique that lends the whole refinement and originality. Good general condition, wear and patina of time.

A luminous bowl in dinanderie of copper and brass with a decoration of fish on a marine ground, the interior lacquered white. Wooden disc at the base. The piece is signed within the decoration Lucien Gerfaux, a French artist active in the 20th century who produced decorative objects, notably vases and lamps in dinanderie (repoussé or inlaid metal, often copper or brass) with motifs often animal or naturalistic. Work representative of the Art Deco style. Circa 1940. Recent electrical work.

A rare set 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, with coiffures and costumes characteristic of late 18th-century and Directoire fashion. 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 line and united in a single mount. The whole is preserved in a gilt wood frame adorned with carved friezes and palmettes. Good general condition. Wear and patina of time.

An elegant watercolour-heightened print on vellum paper, after Henri Lebasque (1865-1937), depicting a young woman seated in a garden. The supple and luminous line evokes the sensibility of the Post-Impressionist master, known for his intimate and sun-drenched painting. The hand-applied watercolour highlight lends this proof a unique gentleness: the delicate touches of colour animate the composition, conveying the poetry of suspended moments dear to Lebasque. Signed in the plate, in good general condition. 20th century. Framed under glass.

A pair of vases on stemmed foot in deep, intense yellow porcelain, adorned with finely chased gilt bronze mounts. Frieze decoration, handles in laurel garlands, typical of the Empire vocabulary revisited in the 19th century. French work. Late 19th to early 20th century.

A large Italian majolica centrepiece in Neo-Rococo style, depicting three putti supporting a wide shell-form basin, resting on a triple shaped shell adorned with stylised polychrome foliage. The naturalistic decoration and polychromy are typical of late 19th-century Italian decorative productions, in the tradition of the Capodimonte or Bassano ateliers. Majolica with thick glaze, polychrome decoration. Finely modelled faces. Highly sculptural base. Fine presence and piece of generous volume. Wear to the edges, stabilised crack and enamel crackles typical of antique Italian majolica. Italy, late 19th to early 20th century.

A set of three carved wood panels, executed in a single block, depicting animal scenes. Each panel is carved from a single piece of wood and presents a deep relief, a clean line, together with a handsome group of foliate motifs, leaves and framings entirely carved by hand. The scenes depict a mare and her foal, cattle at pasture and a partridge in a rural setting, typical of the pastoral repertoire of the late 19th and early 20th centuries. The reverse, left raw, shows tool marks and confirms a traditional and authentic artisanal work. A very fine early patina.

An elegant and large majolica plate from the workshops of Deruta, the celebrated Italian ceramic centre in Umbria. Signed "S. Volpi" "In Deruta".

Serafino Volpi, ceramicist active in Deruta between 1916 and 1918, became director of the "Maiolica Deruta" manufactory. In 1928, he founded, in partnership with Gino Veschini, the "Maiolica Derutese Volpi" manufactory. The following year, he became its sole proprietor. The firm remained active until the early 1950s. Serafino Volpi played a decisive role in the international renown of Deruta in the 20th century, making the town one of the principal centres of ceramic production in Italy.

The plate depicts a female profile in the manner of the Renaissance Italian "Bella donna". The portrait, of great refinement of features, stands out against a deep blue ground. The border, typical of the Deruta tradition, presents a decoration of stylised dragons, foliage, polychrome flowers and a mascaron. The palette is luminous. Some marks on the edges. Italy, mid-20th century. Signed S. Volpi, in Deruta.

A superb decorative banner holder / heraldic plaque from the late 19th century, probably Belgium or Northern France, painted on a wooden support. It depicts a portrait of a young woman in profile, crowned with laurels. The model, gazing into the distance, evokes the female allegories used in 19th-century decorative arts: muse, victory or republican figure. The piece presents a shaped scalloped outline. The ground is treated in deep blue, enhanced with a frame painted in olive tones. Fine quality of execution.

A fine mirror with pediment, the frame in gilt wood and stucco accentuated with a frieze of pearls and broken-line moulding, adorned at the cresting with a flowered vase. Mercury-backed plate. Louis XVI period. France, 18th century.

A superb 8-light chandelier in bronze and crystal, animated by a shower of large drops in blown amber glass, bringing warm presence and brilliance. The central shaft is composed of cut-crystal elements typical of late 19th to early 20th-century French production. The bronze mount displays fine Rocaille movements, without excess, evoking the transition between Louis XV style and 1900s productions. The chandelier is hung with fine-quality cut-crystal pendants and terminates in a faceted ball. Electrical work entirely redone to CE standards. French work, circa 1900.

An oil on canvas depicting a landscape animated by a stone bridge spanning a river, attributable to the French Post-Impressionist vein of the 20th century. The brushwork is free, thick and highly expressive, worked with knife and brush, with a generous material particularly visible in the vegetation and masonry areas. The palette, dominated by deep greens, warm ochres and nuanced blues, conveys with accuracy a luminous and vibrant atmosphere. The work is signed lower right "Maurice Lemaire", a 20th-century French artist known for his sensitive and constructed landscapes, inscribed in the modernised tradition of plein air painting. The painting is presented in an important carved, painted and gilt wood frame.

A fine gouache attributed to Louis Gadbois (work expertised), dating from the late 18th to early 19th century, depicting an Italian countryside landscape animated by washerwomen, in a balanced and luminous composition. In the foreground, several female figures are occupied washing linen at the edge of a watering place, while the landscape opens gradually onto a rolling distance, rhythmed by slender trees and gentle reliefs. The scene is bathed in clear and atmospheric light, typical of the idealised views of Italy prized by artists of the late 18th century. The palette, refined and harmonious, combines tender greens, delicate blues and warm ochres. The treatment of the landscape, the aerial depth and the finesse of the figures inscribe themselves fully in the tradition of genre scenes and animated landscapes of Italian inspiration of the Neoclassical period. Good general condition.

An oil on panel depicting the portrait of a young woman in bust, arms raised behind the head, in an attitude both free and introspective. The model, treated with gentleness and restraint, stands out against a dark ground animated with stylised coloured touches, bringing depth and vibration to the composition. The brushwork is fine and mastered, with delicately worked material. The composition is centred on the female figure, whose assertive pose contrasts with the melancholy expression of the face. Figurative work of the first half of the 20th century, at the crossroads of realism and a more modern sensibility. The whole exudes a strong and elegant presence. Signature lower right, partially legible, unidentified. Presented in its moulded wood frame with patinated green and gilt decoration.

Probably German School depicting a romantic landscape with wanderer. A very fine antique painting figuring a romantic landscape animated by a solitary figure seen from behind, walking through a rocky valley dominated by tall trees. The composition is organised around an interplay of chiaroscuro, a luminous opening at the centre reveals a mountainous horizon, while the dark masses of trees and rocks powerfully frame the scene. The iconography of the Wanderer — a figure dear to the German tradition — confers on the work a symbolic and introspective dimension, inherited from 19th-century Romanticism. The brushwork is vivid in the rocks, more melted in the skies and foliage, with a warm palette of browns, ochres and deep greens, typical of Germanic schools. Fine early patina, relined, mounted on original keyed stretcher.

A ceramic sculpture figuring a seated cat, treated in a stylised manner. The piece is covered with a deep brown glaze, animated with amber and ochre nuances. The surface presents chromatic variations. The modelling is fluid, highlighting the full volumes of the body and the softness of the dorsal line. Origin: Normandy region, probably Bavent.

An elegant pair of ceramic vases, signed Louis Dage. The hand-painted decoration depicts a stylised marine scene: a sailboat on a green sea, an orange sunset, framed by large black circular cartouches on a deep cobalt blue ground with clouded effects. The composition, at once geometric and poetic, fits fully within the Art Deco aesthetic: simplification of forms, graphic lines, contrast of vivid colours and flat areas. The two vases form a pair of strong presence. Louis Dage is a major figure of French ceramics of the interwar period. Established in Antony from the early 1920s, he developed a production emblematic of the Art Deco style, combining pure forms and hand-painted decorations in intense colours. In perfect condition.

An important ceremonial mirror in richly carved and moulded oak. The pediment is centred with a high-relief mascaron figuring a putto's face (or cherub) with fleshy features, emerging from a stylised shell and deployed wings. The upper rail is adorned with generous fruit garlands (grape clusters, pomegranates, pine cones) symbolising abundance. The lateral uprights, with animated lines, are carved with acanthus volutes and interlocking motifs. The lower section stands out by an architectural base resting on two stylised confronted dolphins, a classic motif of Rhenish Baroque symbolism. The mirror is bordered by a fine inner moulding decorated with a row of pearls and dentils, bringing a contrast of finesse to the power of the exterior carving. Structure: excellent state of stability. Superb deep, dark patina, typical of productions of Eastern France and the Rhine valley. Joinery: period assembly with massive plank backing, showing early tool marks and natural shrinkage cracks attesting to its antiquity. Mirror: plate replaced later (decorative scalloped edge), in perfect condition.