Our Collection

A remarkable Italian table lamp from the 1970s, a period of creative effervescence during which transalpine design established itself as a global benchmark. The monolithic shaft, cast in translucent resin of an intense amethyst hue, displays bubble inclusions trapped within the mass during casting — an artisanal process characteristic of the finest Italian workshops of the decade.

The rectangular section with bevelled edges lends the whole a pronounced sculptural character. The chromed metal sphere articulating the shaft and the socket, together with the cylindrical brushed silvered metal shade, are firmly inscribed within the formal vocabulary of the Italian Space Age, in the spirit of Romeo Rega’s creations.

Unsigned piece, attributable to a Milanese or Venetian design workshop of the 1970s.
Lateral wiring.

Origin: Italy, circa 1970

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A central figure of Surrealism, André Masson was one of the inventors of automatic painting — a freedom of gesture that would directly influence Pollock and American Abstract Expressionism. His graphic work, poised between myth, metamorphosis and vital energy, is today held in the world’s foremost collections.

“Rencontre” is a striking example: against a grainy violet-grey ground, fluid white lines summon forth animal silhouettes, fragmented faces and archaic symbols in a whirling dance. Automatism in its purest form.

Original print in colours, signed in pencil, numbered 4/50. Laid paper with embossed edges.

Motif: 29.5 × 20.5 cm — Sheet: 47.8 × 35 cm.

Framed under glass by a leading Parisian atelier.

Walnut frame: 52 × 39 × 3 cm

A remarkable pair of bedside tables (or sofa ends) in flame mahogany veneer, representative of prestigious Milanese cabinetmaking of the mid-twentieth century, in the manner of Paolo Buffa.

The veneer reveals a russet-orange shimmer with golden reflections that shift with the light. The sides, carved in an inverted arch, lend the whole a remarkable lightness despite the presence of the material. Four tapered legs terminate in conical sabots of cast brass.

Each piece is fitted with a drawer with a two-toned front — a band of black-stained pear wood, a noble substitute for ebony, set against a warm mahogany ground — closed by an elegant ogee-shaped cut-out. The cast brass handle, shaped as a flattened gondola, is characteristic of the decorative vocabulary of northern Italy in the 1960s. The top, covered in black églomisé glass, is surmounted by an open gallery with a clear glass shelf bordered in green.

Sold as a pair only.

Very good overall condition. Veneer intact, drawers functional. Light traces of use consistent with age.

A rare wheeled occasional drinks cabinet known as a Dry Bar Cart, an emblematic creation by the renowned 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 with ease around a drawing room.

Two large curved doors open onto suspended semi-circular shelves, fitted with original silvered metal retaining straps to secure glasses and decanters.

The front opens by means of a drop-down flap fitted 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 integrates harmoniously into the plinth for the storage of bar accessories.

As the back of the cabinet benefits from the same fine veneer as the front, this bar may be used in the centre of a room or at the end of a sofa.

Materials: blond walnut veneer, service surfaces in white laminate/lacquer, original stays and fittings.

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

A rare set of three wall lights in blown Murano glass attributed to Barovier & Toso.

Each sconce is composed of glass flowers with gold powder inclusions, individually assembled onto a metal frame, creating a densely textured and luminous effect with golden reflections.

Venetian work, circa 1960–1970.

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

Sold as a set of 3 pieces — not to be separated.

An exceptional Highboard-type storage cabinet (tall sideboard) designed in the 1960s by the celebrated Belgian designer Oswald Vermaercke. 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 veneer (Brazilian Rosewood) of remarkable quality. The grain of the wood, dark, contrasted and deeply expressive, has been meticulously selected and applied in “book-matched” fashion on the doors and the upper top. The flamed 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 via two hinged doors onto a fitted interior, comprising shelves and removable vertical dividers, ideal for use as a bar or writing desk.

• 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 relief directly from the solid wood, typical of Oswald Vermaercke’s craftsmanship. The whole rests on a slender, tapered sledge base, which lends an impression of airy lightness elegantly contrasting 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 smoothly. Rare minimal traces of use consistent with its age. Excellent condition, very fine patina.

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A rare set of three monumental traditional Japanese dolls in turned wood, known as Kokeshi Dentō. Originating from the mountainous Tōhoku region in the north of the archipelago, these sculptures of refined design embody the very essence of the Mingei folk art movement.

Their presence is particularly remarkable here owing to their monumental format (over 60 cm in height), a rare size for this type of artisanal piece, making them genuine collector’s objects suited to interior or architectural decoration. Each piece is signed or stamped beneath its base by the master turner who fashioned it.

‍Lot details (from left to right):

1. Yajirō-style Kokeshi (H. 60 cm): This model stands out for its use of a wood species with a strikingly graphic and pronounced natural grain. The cylindrical body is adorned with stylised camellia (tsubaki) motifs hand-painted in green and red pigments, framed by characteristic concentric lines. Calligraphic signature beneath the base.

2. Naruko-style Kokeshi (H. 61 cm): Displaying the cream tone of traditional wood, this piece features a voluminous head assembled according to the traditional technique and an elegantly tapered silhouette. The painted floral decoration is accompanied by broad bands of red pigment at the shoulders and base. Artisan’s mark beneath the base.

3. Large monumental Tōgatta-style Kokeshi (H. 62 cm): The centrepiece of the set by virtue of its commanding presence. It displays a powerful graphic design depicting a large radiating chrysanthemum painted in bold strokes. On the reverse, the base bears a long calligraphic honorific inscription indicating that it was awarded the Prize of the Japanese Ministry of Labour, a highly prestigious official distinction recognising the artisan’s exceptional quality and craftsmanship.

Fine overall condition for pieces of this size and period. The wood is sound, heavy and stable. The original colours and pigments have remained beautifully warm, complemented by a superb natural patina. Slight marks, small superficial scratches or minor discolourations from use, entirely consistent with their age and authenticity.

An elegant pair of postmodern/Hollywood Regency style table lamps, crafted in 1980s Murano glass and brass.

These light fittings are distinguished by a “totem” structure composed of a stack of various hand-blown glass elements, offering an interplay of textures and contrasts:

* White opaline glass: globes and a domed base in satin opaline glass

* Gold-leaf textured glass: intermediate discs in solid moulded blown glass, one translucent with radiating ribs, the other enriched with gold dust inclusions according to the traditional Murano technique.

* Geometric elements: Murano glass cubes that structure the architectural silhouette of the whole. The mount and separating rings are in gilt brass, accentuating the elegance of the materials.

The design is characteristic of the high-end Murano production of this period, in the spirit of houses such as Barovier & Toso or Mazzega.

Excellent state of preservation.

Electrics fully overhauled and refurbished.

Presented here with conical grey/green shades.

An exceptional and rare four-leaf screen presenting an Arte Povera (or Lacca Povera) decoration on a ground of antique green lacquer. This piece constitutes a refined testimony of the taste of the Directoire period, marking the transition between the delicacy of the 18th century and the rigour of the First Empire.

The decoration is composed of applied engravings, after the works of Carle Vernet (1758-1836). One finds here the artist's favourite themes: hunting scenes, genre scenes, Neoclassical repertoire such as winged caducei, quivers, torches and laurel wreaths. The Arte Povera technique consists of the meticulous application of engravings on a painted support, the whole protected by numerous layers of resin varnish.

The reverse of the screen is treated with equal care, presenting moulded panels painted in a green tonality. Late 18th / early 19th century.

Remarkable pyramidal lamp base of square section, hewn from a block of unfilled Roman travertine displaying its characteristic horizontal veining, alternating warm ochre and beige.

The surface retains its natural cavities, a deliberate treatment that lends the piece its sculptural power and firmly situates it within the brutalist and mineral aesthetic of Italian design of the 1970s.

The shaft tapers progressively from base to crown in an obelisk-like movement of great geometric rigour.

Original label present: AREA Illuminazione, a transalpine manufacturer renowned for its luminaires in fine natural stone.

Later shade. Ivory white.

Very good overall condition.

Functional electrical fittings.

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

The principal moulding displays a finely incised radiating fluting, rhythmed along its edge by a frieze of beading.

The whole rests on a wide smooth flat band. The original mercury glass, with its foxing, unambiguously attests to the antiquity of the piece.

Period backing in assembled pine planks at the reverse.

The gilding, almost entirely preserved, allows the underlying red bole to appear 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

Louis-Philippe overmantel mirror (circa 1850) displaying the 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, presenting a beautiful patina. This model is distinguished by its principal moulding decorated with a frieze of engraved cross-hatching, a classic and understated motif which lends a geometric finesse to the whole. The inner border is underlined by a row of smooth beading accentuating the relief of the frame.

The mirror plate is original, offering that deep lustre particular to period mirrors.

The back of the mirror is entirely closed by its original wooden panelling.

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

In fine state of conservation.

Spectacular pair of Mid-Century “gourd” or “bottle” shaped vases in silver plate, with pure and organic lines. These pieces are distinguished by their generous proportions, notably the larger model reaching 58 cm in height, making them striking decorative objects of the first order. Beneath the base, each vase bears the stamp of the prestigious Italian house “Jordan Sheffield Collection” — maison Jordan-Silverado, based near Rome. The name Jordan refers to the family of Italian designers Antonio Jordan. The mention of Sheffield does not indicate a British origin, but rather guarantees a high-quality silvering technique, inherited from traditional craftsmanship. These pieces reflect Italian design of the 1970s–80s, combining the classical elegance of silverware with highly modern minimalist forms. Very fine visual appearance. Traces of use, patina of use. Italy, 20th century

A master ceramicist of Sicilian origin established in 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 and then subjected to a double firing under a transparent glaze. The process was awarded the Grand Prix at the Concours Lépine in 1931.

This flower-frog sphere is distinguished by the exceptional quality of its execution. The palette is particularly rich and luminous — iron-red terracotta, soft celadon, slate blue, creamy ivory, warm ochre and manganese brown — with a brilliant glaze that enlivens each colour and gives the whole an almost mineral depth. The upper body displays the polychrome diagonal chequerwork 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 foliate scrolls. Nine apertures at the top. Remarkable precision and mastery.

Signature “Gerbino Vallauris” incised beneath the base.

France, circa 1950-1960

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, showcasing a fine and regular grain.

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

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

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

The work of Paul Geoffroy belongs to the current of post-war French modernism, influenced by Scandinavian design and functionalist principles. Here one finds:. Pure lines and balanced proportions. Restraint in ornamentation. The pursuit of intelligent and modular use. Quality of execution and attention to detailThis piece bears witness to a design that is both elegant and pragmatic.

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

A very fine beach scene by Yves Wacheux, a 20th-century painter, depicting a group of figures on the sand facing the sea, in a soft and slightly veiled atmosphere. The artist captures a simple, silent moment of life, in which adults and children share the space between the sea and the dunes. The composition is built up through broad areas of colour, dominated by blues, beiges and whites, creating a diffuse, almost misty light that evokes an off-season beach or a late afternoon. The figures are rendered with softened contours, lending the scene great poetry and an impression of absolute calm. The particularly subtle handling of colour and light conveys the artist’s sensibility. Work signed lower right. Presented in a wooden frame with geometric decoration.

Oil on panel depicting the bust-length portrait of an elegant lady, wearing a low-cut blue dress and adorned with a necklace. Her powdered coiffure, embellished with green ribbons, illustrates the refined fashion of the second half of the 18th century. The painting, executed on a dark ground, and the treatment of the flesh tones evoke a Germanic work. This treatment enhances the brilliance of the jewellery and the delicacy of the face. Presented in an antique giltwood frame with pearl and moulded decoration, the work retains all its cabinet charm. Age craquelure, retouches. Good overall condition.

An important and charming pair of baluster vases in Paris porcelain, dating from the 19th century. These pieces are distinguished by the great quality of their polychrome decoration, treated in a naturalistic manner — a theme highly prized under the Second Empire. The body of each vase, set against an immaculate white ground, presents a rich composition of ornithological and entomological scenes. Each vase displays birds finely hand-painted in dynamic postures (a goldfinch, a blue tit and other passerines). The rendering of the plumage is of great precision, attesting to pictorial craftsmanship of the highest order. The decoration is completed by various butterflies and flying insects, scattered amongst scrolling sprays of climbing ivy laden with berries. The neck and the base are emphasised by a superb deep cobalt blue, heightened with gilt fillets. The upper lip features a broad band of fine gold. Good overall condition. Some wear from use to the gilding on the necks and bases.

Large contemporary portrait by the Thai artist Silawit Poolsawat, renowned for his powerful and sensitive works. Asian Beauty captures the delicacy and depth of an Asian female face, in a composition blending realism, subtle transparencies and dreamlike atmospheres. Silawit Poolsawat’s paintings are inspired by women and children he has encountered during his travels, whose expressions have left a profound impression upon him. Signed lower right. Framing: mounted on an aluminium stretcher, ready to hang.

An imposing oil on canvas, Spanish school, dating from the 19th century. This still life painting depicts an abundance of fruit. A very fine frame alternating engraved giltwood and waxed stained wood.