Our Collection

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 depicting the face of a Putto (or cherub) with fleshy features, emerging from a stylised shell and outspread wings. The upper crosspiece is adorned with generous garlands of fruit (bunches of grapes, pomegranates, pinecones) symbolising abundance. The lateral uprights, with their sinuous lines, are carved with acanthus scrolls and interlaced motifs. The lower section is distinguished by an architectural base resting on two stylised confronted dolphins, a classical motif of Rhenish Baroque symbolism. The mirror is framed by a fine inner moulding decorated with a row of pearls and dentils, providing a delicate contrast to the powerful exterior carving. Structure: excellent state of stability. Superb deep, dark patina, characteristic of productions from Eastern France and the Rhine Valley. Joinery: period assembly with solid plank back, showing traces of ancient tools and natural shrinkage splits attesting to its age. Mirror: glass replaced at a later date (decorative scalloped border), in perfect condition.

17th century

A charming 19th-century oil on canvas depicting a lyrical scene of nymphs dancing in a clearing. This work is a quality reinterpretation of the celebrated composition by Jean-Baptiste Camille Corot, "Une matinée, la danse des nymphes" (1850). Far from being a simple copy, this cabinet painting offers a personal and luminous variant of the original masterpiece. The artist asserts his own sensibility with a more vivid palette in the draperies and a treatment of foliage in backlight of great poetry, typical of the influence of the Barbizon School. The light filtering through the canopy iridescent the round dance of the figures with remarkable mastery of the vaporous atmosphere. It is a work of great gentleness, testifying to the taste of the 19th-century aristocracy for mythological and pastoral themes. The work is in excellent state of preservation. Sound canvas, original stretcher. Frame in gilt wood and stucco with reeded decoration.

An important rectangular mirror in carved and giltwood. This model stands out by a striking and richly worked pediment. At the summit, a dove with deployed wings, symbol of peace or love, is inscribed 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 pearl frieze. The frame is flanked by broad foliage and laurel drops descending along the uprights. The lower section is adorned with two stylised volute consoles, allowing the mirror to rest elegantly on a chimneypiece or console.

Artistic elegance for this roe deer in cement patinated by time on its plinth. This unique piece of folk art dating from the 1960s offers a poetic atmosphere to your garden or interior.

A splendid prestige jardinière in high-fired faïence, from the workshops of the celebrated Touraine manufactory Jaget et Pinon (1890-1919 period). This masterpiece is distinguished by its ‘Eagles and Bees’ decoration, the noblest and most sought-after iconography of Touraine production. Colouring & Enamel: Imperial green ground enamel of rare depth, achieved through high-temperature firing, offering a striking contrast with the gilding. Ornamentation: Rich fine-gold decoration comprising two confronted Imperial Eagles and a scattering of Napoleonic bees. Lateral elements: Sculpted handles in relief depicting oak branches laden with acorns, emblems of strength and permanence, entirely heightened with gold. Frieze: Neck encircled by a frieze of neoclassical scrollwork and palmettes on a dark green band. Perfect state of preservation. Highly lustrous enamel. Gilding showing slight wear from use on the raised areas consistent with its age. Weight 6.700 kg

A master ceramist of Sicilian origin established at Vallauris, Jean Gerbino perfected in 1930, after fifteen years of research, his unique terres mêlées technique: several clays coloured with oxides are assembled in blocks, thrown together on the wheel, then subjected to a double firing beneath a transparent glaze. The process was awarded the Grand Prix at the Concours Lépine in 1931.

This flower-holder sphere is distinguished by the exceptional quality of its execution. The palette is particularly rich and luminous — iron-red terracotta, soft celadon, slate blue, cream ivory, warm ochre and manganese brown — with a brilliant glaze that enlivens each colour and lends the whole an almost mineral depth. The upper body displays the polychrome diagonal chequerboard characteristic of the workshop, whilst the lower register is treated in sgraffito with Hispano-Moresque motifs — medallions with star-shaped rosettes on a cream ground, framed by green scrolling foliage. Nine apertures at the summit. Remarkable precision and mastery.

Signature “Gerbino Vallauris” incised beneath the base. France, circa 1950-1960

France, circa 1950-1960

A very fine rectangular teak coffee table, emblematic of 1960s Scandinavian design, produced by the renowned Danish manufacturer Trioh. This piece is distinguished by the elegance of its lines and the quality of its finish. It features an upper top with gently curved edges and a slatted lower shelf (magazine rack), offering functional storage whilst emphasising the airy graphic quality of the structure. The tapered legs, typical of Danish modernism, lend great visual lightness to the whole. The table bears the original stamp “Trioh — Made in Denmark” struck beneath the top, guaranteeing its authenticity and its value on the art market. Excellent state of preservation. The teak displays a deep, warm honey patina. The structure is perfectly stable.

A spectacular pair of Italian lamps in blown moulded Murano glass from the 1980s. The spheres display a deep plum hue, satin-finished on one half of the sphere and glossy and striated on the other. Circular brass bases. Cylindrical black and gold lampshades. Striking, graphic decorative pieces. May be sold individually at 950 euros per lamp.

Sommerso vase in Murano glass crafted according to the traditional technique of superimposing layers of molten glass, requiring complete mastery of hot working. This method achieves a depth of material and an optical density of particular note, hallmarks of the great Murano productions of the twentieth century. The smoked amethyst hue, encased within a thick mass of clear glass, creates a subtle interplay of transparency and depth. The design is accentuated by an architectural facetting with taut, crisp lines, lending the piece a pronounced sculptural presence. This vase belongs to the great tradition of formal experimentation pursued in Murano during the 1960s and 1970s, a period in which glass came to be regarded as a genuine material for architecture and sculpture, beyond its merely decorative function. Perfect condition. No chips or nibbles. Murano—Italy, twentieth century, circa 1960-1970

A rare set of three wall sconces in blown Murano glass attributed to Seguso, Murano.

Each sconce is composed of glass flowers with gold powder inclusions, assembled one by one on a metal frame, creating a dense and luminous textured effect with golden highlights.

Venetian work, circa 1960-1970.

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

Sold as a set of 3 pieces — not separable.

Sculptural gilt bronze candlestick by Georges Mathias for Fondica, characteristic of the organic and expressive work of the second half of the twentieth century. The piece is distinguished by a free vertical composition, evoking a stylised plant or coral form. The shaft unfolds in successive outgrowths with sinuous, dynamic lines, creating a particularly vibrant interplay of shadows and reliefs. The widely splayed tripod base ensures stability whilst prolonging this biomorphic aesthetic. The gilding presents a depth and brilliance that magnify the asperities of the bronze. It is a piece of character, at once primitive and extremely refined.