Our Collection

A very fine Louis XVI-period mirror in carved giltwood and parcel-gilt, with a pediment adorned with birds, a quiver filled with arrows, and flowers. Gold-leaf gilding. The uprights are decorated with foliage and terminate in pine cones. Original mercury-backed mirror plate. Later wood backing.

A very fine carved giltwood mirror of the early 19th century in Louis XVI style. It presents a pediment adorned with a laurel wreath, symbol of success, doves, symbol of peace, and a quiver filled with arrows, symbol of love. Frame with pearl friezes, side drops decorated with acanthus leaves. Original plate.

Italian ceramic, fiori applicati technique. Very fine condition. A superb pair of Italian ceramic candelabra, work of Bassano del Grappa, executed between the 1920s and 1940s. These pieces perfectly illustrate the Venetian decorative tradition of fiori applicati, in which each flower, petal and leaf is hand-modelled then applied one by one to the structure. This savoir-faire, of great finesse, constitutes one of the historic signatures of the Bassano ateliers. The highly floral composition reprises the decorative codes of Venetian Baroque: twisted garlands, rosettes, deep colours and ivory glaze, typical of early 20th-century production. Fine state of preservation. Soft and even patina. Italy, 20th century.

A superb Italian Baroque mirror in carved openwork wood, presenting a highly animated Rocaille decoration and great richness of execution. The frame is entirely worked by hand, with a remarkable interplay of volutes, foliage, cartouches and scrolls characteristic of the Baroque style of Northern Italy. The upper section is adorned with a figure sculpted in high relief, set within a Rocaille decoration. The deep piercings testify to virtuoso work, typical of the 18th-century Italian ateliers. The feet are integrated into the frame decoration in a continuous ascending movement, according to a typology proper to the Veneto and Piedmont. Original plate. Wear and losses, spotted silvering linked to age.

A fine oil on canvas dated 1910 and signed (signature unidentified) depicting a lush and colourful waterside landscape. Late Impressionism. The artist displays fine mastery of material and light: vibrant brushstrokes, depth of construction, rich palette ranging from deep greens to autumnal reds. Signature and date visible lower left, 1910, signature unidentified. Antique carved and gilt wood frame. Fine patina.

A rare and striking Italian lamp in white-glazed ceramic attributed to the Capodimonte ateliers, depicting an allegorical male bust adorned with rich high-relief decoration. The figure, blindfolded, is crowned with a generous wreath of vine leaves and finely modelled grape clusters, typical of Capodimonte productions of the second half of the 20th century: meticulously applied foliage, plump grapes in relief, expressive modelling of the face, theatrical aesthetic of mythological inspiration. The bust also displays a vine-tendril motif in the hands. Cylindrical lampshade. Italy, circa 1960-1970.

A superb tapestry hand-woven at Aubusson, from the Atelier Jean Picaud, presenting a wolf-hunt decoration in a wooded landscape in the manner of the classic verdures. The scene depicts a wolf surrounded by a pack of hounds, treated with a remarkable sense of movement and drama. The whole is rhythmed by an interplay of blue, green, ochre and beige foliage, a palette characteristic of 20th-century Aubusson production. The work stands out for the quality of its weaving visible on the reverse: regular density, diversity of wools, finesse of the gradients. The cartoon reprises the decorative vocabulary of the great 18th-century hunting tapestries, reinterpreted with sensibility by the Aubusson ateliers. Very fine general condition. Ready to hang. France, mid-20th century.

An elegant pair of seated greyhounds, executed in reconstituted stone, intended to ornament a garden, terrace or entrance setting. Identical subjects forming a pair. Natural patina linked to an early outdoor installation. Portugal, 20th century. Weight: 44 kg per piece, that is 88 kg for the pair.

An elegant occasional column or pedestal of rectangular form, executed in painted wood on a deep black ground, enhanced with gilt decoration. Italian 19th-century production drawing on the 18th-century ornamental repertoire. The four faces present a symmetrical composition of foliate scrolls, fleurons and stylised floral motifs, finely executed in matte gilding on a black ground. The design combines Neoclassical rigour with Baroque reminiscences, lending the piece an assertive architectural presence. The column opens with a side door fitted with original early hardware, giving access to a natural-wood interior fitted with a fixed shelf. The structure rests on a sober moulded base, and is surmounted by an overhanging upper top with softened edges, also accentuated with gilding. Polychromy preserved with wear consistent with age. Halfway between furniture and decorative element, serving as a decorative column, support for objects or a discreet small storage piece.

A decorative sculpture depicting a seated bulldog, figured anthropomorphically, dressed in a dinner jacket with bow tie. This cast-iron piece stands out for the quality of its modelling, the force of its expression and its resolutely decorative character. Datable to the late 19th to early 20th century, this type of humorous and elegant subject was particularly appreciated for the ornament of house entrances, winter gardens, hallways or bourgeois interiors. The surface presents a fine early patina, in nuances of red-brown and green, resulting from natural oxidation and probably from early finishing layers now altered. This unrestored early patina lends the sculpture a very lively aspect. Weight: 8 kg. The wooden base visible in the photographs is a presentation element and is not included in the sale.

A rare carved wood sculpture depicting a winged angel head, treated in high relief. This fragment probably originates from an architectural element or religious woodwork (altarpiece, church decoration, conventual ensemble). The face, full and serene, presents an interiorised expression typical of provincial French Baroque sculpture: half-closed eyelids, fine mouth, soft yet deeply expressive modelling. The hair is animated by generous and deeply carved curls, lending rhythm and presence to the whole. The deployed wings, stylised and graphic, accentuate the composition and reinforce the monumentality of the piece. The reverse, left raw, reveals tool marks, early assemblies and reworkings, attesting to a dismantling and architectural use. The warm and nuanced patina, in honey and brown tones, is authentic, marked by time. A highly sought-after decorative presence.

An important pair of table lamps of Italian production, executed in the mid-20th century, in carved and patinated wood. The shafts are each crafted from a single piece of wood, turned and profiled according to a baluster design, evoking classical architecture reinterpreted in the Italian aesthetic of the 1950s-1960s. The silhouette is continuous, fluid, without intermediate assembly, testifying to a precision turning work. The mahogany-brown patina is enhanced with reprises of original black lacquer in the hollows and edges, intended to underline the volumes and accentuate the architectural effect of the form. The lampshades, of slightly trapezoidal form, are clothed in a thick fabric of warm tone, adorned at the lower section with a crocheted border, bringing a decorative note of Italian spirit. Original functional electrical work.

A very fine original work by the French painter Yves Wacheux, entitled La Plage Rose, depicting an animated beach scene, bathed in light, in a palette dominated by pinks, ochres and blues. The composition shows several figures arranged on the sand facing the sea: reclining women, children, standing silhouettes, striped towels and beach tents structure the space. The style is free, expressive and warm, typical of modern French figurative painting of the post-war period, where colour and the vibration of the line take precedence over descriptive detail. The work is mixed media on paper. The whole is presented in a wood frame with geometric decoration, with a wide mount and gilt fillet line, which beautifully highlights the composition. Signed lower left.

A rare and elegant pair of Italian table lamps combining striking 1980s Murano glass work with an architectural brass structure. Each lamp is composed of a polished brass cubic base surmounted by four faces of thick amber-gold tinted Murano glass, cut and polished with clean edges. This glass typical of Murano productions of the 1970s-1980s offers a remarkable luminous depth when the lamp is lit, diffusing a warm light. The lampshades, of Italian origin, rectangular in form, are clothed in black fabric and lined internally with a gilt coating creating a sophisticated contrast and fine luminous reflection when lit. The whole forms a powerful and decorative duo typical of high-end Italian design of the 1980s. New electrical work. Italy, 20th century.

A rare and expressive pair of English bulldogs in polychrome terracotta, depicting two seated dogs, with powerful modelling and a typically Victorian character. The sculptures display excellent modelling quality, with a very naturalistic treatment of the heads, heavy jowls, skin folds and stocky bodies, characteristic of the depiction of the Victorian Bulldog, symbol of strength and fidelity in 19th-century England. The eyes are in sulphide glass, mounted and set in the material, bringing remarkable depth of gaze and lively presence — a distinctive detail of quality English productions of this period. England, 19th century.

A soliflore vase of square section in Murano crystal (cristallo), a remarkable example of Italian design of the 1960s. An architectural piece combining the rigour of geometric cutting with the fluidity of colour.

Highlights:

. Technique: sommerso work (superposed glass) presenting a fuchsia-amaranth core in suspension within a thick mass of translucent crystal.

. Finish: entirely facet-cut and cold-polished. The edges are sharp, creating spectacular refraction effects in the light.

. Authenticity: original "Made in Murano Italy" label present beneath the base.

. Attribution: model characteristic of Mandruzzato or Flavio Poli productions.

. Perfect state of preservation. No chips, no nicks on the edges. Limpid crystal.

Why choose this piece: this is a large format (26 cm) with a strong visual presence. Its vivid colour and minimalist design make it a sought-after collector's piece.

A fine rectangular coffee table emblematic of French and Italian sophistication of the 1970s. This piece embodies the luxurious aesthetic of late 20th-century Parisian "Glamour", of which Willy Rizzo and Maison Jansen were the leading figures.

The top is a technical feat: a hand-worked lacquered resin, offering an organic decoration with warm nuances of amber, Sienna and tortoiseshell. The visual depth of the top, protected by a high-gloss lacquer, contrasts admirably with the architectural rigour of the base. The structure is composed of a square-section brass frame. The elegance of this model lies in the detail of the recessed joint (or shadow band) in black located between the top and the base, creating an illusion of levitation characteristic of high-end creations of this period. Timeless design, manufacturing quality, decorative effect. France or Italy, circa 1975.

A charming pair of bedside tables or small entre-deux commodes in lacquered wood in Venetian Louis XV style dating from the mid-20th century. The slightly animated front opens with two arched doors adorned with delicate drop handles. The whole is entirely lacquered in a patinated ivory tone, subtly crackled, and enhanced with hand-painted polychrome floral decorations. Decoration of bouquets of roses and field flowers. Floral motif echoed on the top, framed by fillets. Cabriole curved legs typical of Rocaille style, adorned with enhanced foliate carvings. Mid-20th century — Louis XV style / Venetian Rococo.

A very large Murano glass vase dating from 1960, blue glass with rich millefiori glass inclusions inside, curved yellow rim. Italy. A very fine quality piece in perfect condition.

Discover the timeless elegance of our pair of Art Deco "Roméo" vases in pressed glass designed by Charles Graffart and René Delvenne for the prestigious Val Saint Lambert crystalworks in Belgium. Catalogued in 1935. The vases are emerald green in colour — very rare — with Neoclassical design.

Add a touch of sophistication to your space with these unique pieces, combining artisanal savoir-faire and refined design.