Our Collection

Large and elegant Murano glass floor lamp, emblematic of the exceptional work of the Venetian glassworks of the mid-twentieth century (in the taste of the creations of Barovier & Toso or Archimede Seguso).

• The Shaft : The slender central shaft is composed of an alternating stack of balusters and geometric elements in ribbed and bubbled transparent glass alternating with elements in glass with gold inclusions, offering a superb visual contrast and capturing the light magnificently.
• The Base: The whole rests on a circular base in moulded metal formerly gilded. The gilding, partially faded by time, today reveals a beautiful dark brown patina with traces of gilding.
• The Shade : It is surmounted by a large shade in ecru/greige fabric, edged with a black braid underlined by a gold piping with a twisted button detail in passementerie, ensuring a soft and warm diffusion of the lighting.
• Excellent state of preservation. No cracks, chips or nicks on any of the glass elements.
• Electrification entirely redone to current standards (silk-effect twisted textile cable in gold/brass colour, foot switch and standard socket). Ready to be installed.

Italy, circa 1940-1950

Gilt bronze candlestick signed Casenove, foundry mark of Fondica, dated 94 (1994).

In perfect condition.

Italian floor lamp signed Barovier & Toso, Murano, with original label preserved  (Barovier & Toso lozenge logo + “Vetri Murano VM 007” certification label, Consorzio Venezia Vetro consortium label used between 1981 and the early 2000s).

The conical blown opaline glass shade, with the granular texture characteristic of Venetian work, is adorned with a frieze of acid-etched waves on its lower third, drawing on techniques and a decorative vocabulary inherited from the great years of Venetian glassmaking. It rests upon a colourless Murano glass sphere, blown and cut with twisted ribs, which closes it onto the brass stem — a torchère-type floor lamp, the light being diffused upwards through the glass.

The brass shaft descends to a circular base in white lacquered metal. Original foot dimmer.

Good overall used condition. The lacquered base shows visible marks of use and micro-scratches (see photographs), without affecting the structure or functioning.
Glass and crystal sphere intact, with no chips or cracks.

Original electrical fittings in working order.

Origin: Italy, Murano — Barovier & Toso, circa 1980.

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Important Porcelaine de Paris chimneypiece garniture decorated with birds and flowers on a blue ground, comprising two cachepots and a jardinière. Wear to the gilding, a small chip to the base of the jardinière (see photograph)

Fine painted tôle jardinière dating from the 19th century, adorned with a hand-painted romantic scene depicting a female figure in a bucolic landscape, characteristic of the taste of the early 19th century. The whole is enriched with fine details, such as zoomorphic handles and paw-shaped feet, typical of neoclassical and romantic influences. The jardinière is lined with a fixed zinc liner. The object shows traces of wear and patina, bearing witness to its age. Good overall condition.

Large bronze group after Clodion dating from the 19th century, depicting a faunesse with her two children, one on her lap and the other reclining, on the theme of Bacchus. The mother holds out a cup of wine to the child, the wine flowing from a cask. Green marble base. Signed Clodion on the base of the bronze group. Base: 35 cm × 26.5 cm

Important ceremonial mirror in richly carved and moulded oak. The pediment is centred with a high-relief mascaron depicting the face of a Putto (or cherub) with fleshy features, emerging from a stylised shell and outspread wings. The upper crossbar is adorned with generous garlands of fruit (bunches of grapes, pomegranates, pine cones) symbolising abundance. The lateral uprights, with their flowing lines, are carved with acanthus scrolls and interlacing motifs. The lower section is distinguished by an architectural base resting on two stylised affronted dolphins, a classical 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 refinement to the power of the exterior carving. Structure: excellent condition of stability. Superb deep, dark patina, typical of productions from Eastern France and the Rhine Valley. Joinery: period assembly with solid plank reverse, showing traces of ancient tools and natural shrinkage splits attesting to its age. Mirror: glass replaced at a later date (decorative serrated border), in perfect condition.

17th century

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, their coiffures and costumes characteristic of the fashion of the late eighteenth century and the Directoire period. More precious than simple cut silhouettes, these painted effigies finely render the details of faces, hair and fabrics. Each portrait is presented within a brown fillet and brought together in a passe-partout. The ensemble is housed in a giltwood frame adorned with carved friezes and palmettes. Good overall condition. Wear and patina of time.

A very fine Far Eastern food carrier in wood and papier-mâché, composed of four compartments and decorated with figures. A few minor losses to the marquetry which in no way detract from the beauty and poetry of the piece.

Important rectangular mirror in carved and gilded wood. This model is distinguished by a spectacular and richly worked pediment. At the summit, a dove with outspread wings, symbol of peace or love, is set within a laurel wreath. It surmounts a central medallion adorned with two flaming hearts pierced by arrows, resting on a fluted base. Frieze of twisted ribbons and frieze of pearls. The frame is flanked by broad fall-swags of foliage and laurels descending along the uprights. The lower section is embellished with two stylised scrolled consoles, allowing the mirror to rest elegantly upon a mantelpiece or console table.

Ceramic sculpture depicting a seated cat, rendered in a stylised manner. The piece is covered in a deep brown glaze, enlivened by amber and ochre tones. The surface displays 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.

A very fine vase in brown glazed faïence, of flattened circular form, adorned with a relief depicting a nude female figure in red-orange tones, accompanied by hand-painted enamelled floral motifs. Typical of the Art Nouveau style, this elegant and decorative piece illustrates the craftsmanship of the late nineteenth-century workshops.

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

This vase presents a rich and balanced naturalistic decoration, featuring peonies in full bloom — symbols 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 underscored by intricate friezes of flowering scrolls and stylised lotus blossoms, lending a classical structure and great elegance to the whole.

The hexagonal form, rarer and more sought-after than the classic cylindrical shapes, offers appealing plays of light across its facets, making it an ideal decorative object for a contemporary setting or a finely crafted lamp mount.

Fine overall condition.

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An elegant and large antique pressed glass vase from the Cristallerie de Portieux (1705–2012), George Sand model, with a turquoise blue bowl and amber base featuring a ram’s head. The George Sand model signed Portieux was pressed circa 1900. Founded in 1705, the glassworks supplied over the centuries the most prestigious tables, including those of Tsar Nicholas II of Russia, the writer George Sand and the Ritz.

Pair of Italian lamps in blown Murano glass dating from the 1980s and brass. The mounting as lamps was carried out at a later date. Each lamp is composed of two identical spheres in smoked gilt Murano glass, mouth-blown into a structuring mould, revealing a deep and regular geometric relief. The two elements are separated by a disc of dark-coloured Murano glass, which emphasises the architecture of the whole. The base and structure are in gilt brass. New electrical fitting.

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 ribbed 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 luminous sculpture, at the crossroads of industrial design and modernism.

Some traces of age to the glass.

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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 to showcase a fine and regular grain.

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

- The upper 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 integrated into the lower section (top), creating a play of reflections and a genuine visual depth

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

Paul Geoffroy’s work is part of the post-war French modernist movement, influenced by Scandinavian design and functionalist principles. Here we find: clean lines and balanced proportions; restraint of ornament; a quest for intelligent and modular use; quality of execution and attention to detail. This piece bears witness to a design that is both elegant and pragmatic.

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

A rare rolling 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 masterful use of thermoformed bentwood, the editor’s speciality, offering lines of organic and fluid purity. Conceived to be both functional and mobile, it is mounted on original castors discreetly concealed beneath its base, allowing it to be moved easily around a sitting room.

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

The façade opens by means of a drop-front equipped 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.

The back of the cabinet benefits from the same carefully applied veneer as the front, so 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 stays and fittings.

Excellent overall condition, smooth mechanism, functional castors. Slight oxidation on the hinge metal consistent with its age (see photograph).

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 is distinguished by the use of a Rio rosewood (Brazilian Rosewood) veneer of remarkable quality. The wood’s grain — dark, contrasted and deeply expressive — has been meticulously selected and applied in “book-matched” fashion across the doors and top. The flame-figured patterns of the rosewood lend 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 by 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, sculpted in hollow relief directly from the solid wood, typical of Oswald Vermaercke’s craftsmanship. The whole rests on a slender, tapered sleigh base, which brings an impression of airy lightness that elegantly contrasts with the robustness of the cabinet’s 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 sliders operate with fluidity. Rare and minimal traces of use consistent with its age. Excellent condition, very fine patina.

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Probably German School depicting a romantic landscape with a traveller. A very fine antique painting portraying a romantic landscape enlivened by a solitary figure seen from behind, making his way 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, whilst the dark masses of the trees and rocks powerfully frame the scene. The iconography of the Wanderer — a figure dear to the German tradition — lends the work a symbolic and introspective dimension, inherited from nineteenth-century Romanticism. The brushwork is lively in the rocks, more blended in the skies and foliage, with a warm palette of browns, ochres and deep greens, typical of the Germanic schools. Fine antique patina, relined, mounted on its original keyed stretcher.