Our Collection

A fine Italian Neoclassical console table from the mid-20th century, standing on four legs, in cream lacquered and gilded wood, the frieze decorated with rosettes, square-section legs tapered and fluted. Stretcher surmounted by a finial, cream marble top.

A delightful 19th-century oil on canvas depicting a lyrical scene of nymphs dancing in a glade. This work is an accomplished reinterpretation of the celebrated composition by Jean-Baptiste Camille Corot, “Une matinée, la danse des nymphes” (1850). Far from being a mere copy, this cabinet painting offers a personal and luminous variation on the original masterpiece. The artist asserts his own sensibility through a livelier palette in the draperies and a treatment of the backlit foliage of great poetic quality, characteristic of the influence of the École de Barbizon. The light filtering through the canopy iridesces the circle of figures with a remarkable mastery of the vaporous atmosphere. It is a work of great softness, bearing witness to the 19th-century aristocracy’s taste for mythological and pastoral themes. The work is in an excellent state of preservation. Sound canvas, original stretcher. Frame in wood and gilded stucco with fluted decoration.

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

Fine gouache attributed to Louis Gadbois (work authenticated by an expert), dating from the late 18th / early 19th century, depicting a landscape of the Italian countryside enlivened by washerwomen, in a balanced and luminous composition. In the foreground, several female figures are busy washing linen at the edge of a watering place, while the landscape opens gradually onto a rolling distance, punctuated by slender trees and gentle reliefs. The scene is bathed in a clear and atmospheric light, typical of the idealised views of Italy favoured by artists of the late 18th century. The palette, refined and harmonious, blends soft greens, delicate blues and warm ochres. The treatment of the landscape, the aerial depth and the delicacy of the figures are fully in keeping with the tradition of Italian-inspired genre scenes and animated landscapes of the Neoclassical period. Good overall condition.

An elegant round guéridon in painted wood resting on a tripod base richly carved with scrolls, beading and stylised shells, enhanced with gilt highlights. The central baluster shaft is ornamented with gadroons and bead 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 piece refinement and originality. Good overall condition, with wear and patina of time.

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

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 tapering sleeves, culminates in a majestic corolla that magnifies the diffusion of light. Its sculptural presence and gilded patina make it a historical landmark 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 lofty ceilings. For a striking contrast, it will integrate perfectly into 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-style 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 gilt brass. Museum-quality state of conservation; the crystal presents no chips, cracks or restoration. Original electrical system serviced and functional. Period: circa 1960 (Mid-Century Modern period). Italy, Murano, Barovier & Toso manufactory.

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 the towers of the Conciergerie silhouetted in the background). Beneath covered arbours, a profusion of pots, bouquets and floral arrangements bursts forth in strokes of vivid colour: poppy orange, soft pink, pure white and deep greens.

Amid this floral setting, several figures go about their business: a florist in an apron advises an elegant lady in a pink dress, other strollers choose their bouquets, while a dapper gentleman in a dark suit and hat walks away in the centre, a generous bouquet tucked under his arm. The composition is crowned by a poetic sky tinted with pink, flown over by small cottony clouds. Here Thérèse Hummel deploys 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 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 heart of modernity.

Close to the great names of the avant-garde of Montparnasse and Montmartre, she shared particularly close 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 forms and 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 glass with UV filtration.

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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 here a synthetic and strikingly modern graphic style, playing elegantly on a contrasted and masterfully controlled chromatic palette: the verdant green of the foliage and architectural elements answers the vibrant red-orange of the figures and stylised street lamps.

In the foreground, a group of pigeons pecks about the square, lending a lively and poetic dynamism to the scene. In the background, the pair of lovers strolls near the fountain and the lamp posts, 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 belonged to that generation of independent female artists who evolved at the very heart of modernity.

Close to the leading figures 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 œuvre is characterised by a remarkable plastic freedom, combining the poetry of the everyday, a simplification of forms and expressive use of colour.

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

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Original colour print by Leonor Fini, signed by hand in pencil by the artist in the lower right, accompanied by the handwritten dedication “Pour Serge”. The work is unnumbered, which is common for artist’s proofs or personal gifts made by Leonor Fini in the 1960s–70s. This composition depicts two female figures in a dreamlike, soft and mysterious atmosphere, characteristic of the artist’s symbolic universe. The figures are crowned with a turban in an atmosphere of reverie. This theme of feminine duality, sorority or identity recurs throughout Leonor Fini’s oeuvre. This impression on wove paper, bearing a dedication, lends the work an intimate character. Presented in a moulded wooden frame under glass with a beige mount. Very fine overall condition. 20th century

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 famous Parisian square. One recognises the emblematic 17th-century architecture, with its pink brickwork and verdant slate roofs, bordering the central garden structured around its monumental fountain and lime-tree walks.

In the foreground, children play ball, stroll and amuse themselves near the pond, watched over by elegant figures seated on the square’s benches. 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 dots suggesting gravel or light. The spontaneity of the ink line blends perfectly with the delicacy of the watercolour washes.

An intimate figure of Parisian artistic circles in 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 great 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 œuvre is characterised by a remarkable plastic freedom, combining the poetry of the everyday, a simplification of forms and expressivity 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-grade conservation frame:
Museum-quality glass: anti-reflective and UV filtering.
Fine art framing: executed by a leading Parisian atelier.

Signed lower left.

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Elegant Italian mirror from the mid-18th century, in carved wood gilded with gold leaf.

The frame is adorned with a twisted moulding with oblique gadroons.

Openwork pediment with naturalistic decoration centred on a cluster of grapes in high relief, flanked by vine leaves with incised veining and sinuous asymmetrical tendrils, a Bacchic motif characteristic of mid-18th-century Italian workshops.

The openwork lateral uprights are rhythmed with water leaves and terminate in ball volutes.

The base is composed of scrolls with carved rosettes. Original mercury glass showing some foxing.

Original gilding largely preserved, revealing the red bole, natural patina.

Italy, 18th century

Louis-Philippe period overmantel mirror (circa 1850) featuring a 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, displaying a fine patina. This model is distinguished by its principal moulding decorated with a frieze of engraved lattice-work, a classic and understated motif lending a geometric refinement to the whole. The inner border is emphasised by a row of smooth beading accentuating the relief of the frame.

The mirror plate is original, offering that deep lustre characteristic of period looking-glasses.

The reverse of the mirror is entirely enclosed by its original wooden backboard.

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

Fine state of preservation.

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

The principal moulding is enriched with a finely incised radiating fluting, rhythmically bordered by a frieze of pearls.

The whole rests upon a broad, smooth flat band. The original mercury glass, with its characteristic spotting, unambiguously attests to the antiquity of the piece.

Period backing of assembled pine planks to the reverse.

The gilding, preserved almost in its entirety, allows the underlying red bole to show through 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

Architectural bookcase composed of articulated modules in slatted wood with parallel battens, joined by metal pivots.

The accordion folding system allows for flat storage and free reconfiguration: stepped, symmetrical or asymmetrical, according to space and use.

Wooden structure, fine period patina, original fittings.

Nine compartments in the standard configuration.

A rare piece of Italian design from the 1970s.

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.

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.