Rare Antiques

A pair of 19th-century French painted stools in the Louis XVI style, with slender fluted rounded legs. The frieze features interlaced beaded ornament along with paterae on the corners with carved flowers.

The original paint finish in a dark shade of off-white is softly patinated, and the stools have been newly upholstered in green Nobilis velvet.

A rare pair with restrained elegance and architectural presence. The exquisite carving, balanced proportions and harmonious colour make these versatile stools well suited to a living room or bedroom as occasional seating.

A midcentury oil painting on canvas by Russian-French artist Vladimir Naïditch (Moscow, 1903 – Paris, 1980), c. 1950-60, depicting an interior scene with an upright piano, a violin in its open case, a sheet of music and a painting in the background. The scene is filled with characterful objects, from the rooster-shaped vase and the jugs on the piano to the painting on the wall to the right and the shawl draped over the keys. The piano itself is rendered with compelling detail, from the turned uprights to the fall board, in an evocative image of a personal, creative interior shaped by art and music.

The composition is centred on the piano, its strong verticals and diagonals adding geometry and contrasting with serpentine shapes, while the close viewpoint gives the piano presence and distorts perspective. Earthy shades of teal, aubergine and brown creep from the walls to the objects in an almost surrealist way. Shimmering layers of cold and warm tones create a captivating colour intricacy. Short, loose brushwork gives a vibrant painterly texture throughout, adding detail to bright patches of colour and animating the scene with a sense of movement.

A moody, richly coloured interior scene, presented in a period Montparnasse frame and authenticated on the reverse by the artist’s widow.

Born in Moscow in 1903, Vladimir Naïditch studied drawing at the School of Applied Arts and exhibited for the first time at the age of fourteen. He moved to Paris around 1920, studying at the Grande Chaumière and Colarossi academies with André Lhote, and befriended Russian artists in Montparnasse, such as Ossip Lubitch, Pinchus Krémègne and Lazare Volovick. From 1930 to 1938 he showed regularly at the Salon d’Automne, the Salon des Artistes Indépendants and the Salon des Tuileries, attracting the interest of Baron Edmond de Rothschild. In 1940 he travelled to the United States via Cuba, exhibiting successfully in New York and Rhode Island, and on returning to Paris after the war found his old studio ransacked by the Nazis. His work spans landscapes, portraits and studio scenes, rendered with painterly brushwork and shimmering colour.

An 18th-century French faience oval dish from Moustiers, c. 1750, decorated in the centre with elegant sprays of nightshade surrounded by foliage, in a vibrant polychromy of manganese, orange, green and blue. The lip carries an abundant frieze of garlands and small flower sprays, alternating with trailing blooms cascading from scrolling ornaments. The larger central blooms allow for lush colour and refined naturalistic detail, adding botanical interest, set against the finer work of the border. The edge is delicately shaped, finished with several green bands and a scalloped line, the dish generously scaled with an oval, shallow form.

Floral decoration of this kind was introduced at Moustiers by Joseph Olerys from 1738, drawing on nightshades, potato flowers and Mediterranean plants, typically in a loose, centred composition with fuller sprays or garlands to the lip, rendered in bright colour.

A rare faience dish with exquisite botanical decoration, unrestored and in very good condition.

An oil painting on canvas by French-Ukrainian artist Michel Portnoff (1885-1978), c. 1950-60, depicting a still life with artist's brushes contained in a jug, along with a palette knife, magnifier, a brush in pot, a painter's palette and a wooden studio case, all laid on a rustic table. The scene is set in an interior with an antique carpet to the left, stretchers and a door in the background.

Earthy tones dominate the composition, making the colours of the brushes, the white of the pot, and the blue and yellow of the jug stand out. Strong architectural lines give rhythm to the work, from the vertical of the brushes to the horizontal of the table, set against the oblique of the stretchers and case.

The handpainted faience jug, with its bird, geometric motifs and wavy lines, adds character and a sense of place through its folk decoration. Impasto brushwork renders the varied materials with tactile realism, from the reflection of light on the magnifier to the wood of the table and case, and the oil paint itself.

Signed lower right and presented in a period black and gilded frame. An impressive work with substantial presence, offering a refined study of the painter’s environment and introspective glimpse into his creative space.

Born in 1885 in Elizavetgrad (then Russian Empire, now Kropyvnytskyi, Ukraine), Portnoff studied at the Odessa School of Art and lived in Florence for approximately twenty years before settling in Paris in 1929. He regularly exhibited at the Salon d'Automne and the Salon des Indépendants, with a solo exhibition at the Simonson gallery in 1935. Commemorative exhibitions were held in Paris in 1979 and 1984.

A 17th-century French glazed earthenware roof finial from Sauxemesnil, converted to a table lamp, featuring an elegant baluster shape decorated with swagged ribbons hanging all around. This finial bears the characteristic brown glaze of Sauxemesnil, showcasing oxidised hues of yellow and green, a captivating patina caused by the elements. Weathering has caused the glaze on the ribbons to run off, creating a striking contrast between the exposed clay and the dark ground.

Sauxemesnil, in the Cotentin peninsula, was renowned for producing roof finials with elaborate folk decoration, made of up to five stacked spherical shapes. Placed at the extremity of a roof, they protected it from water damage, added decorative interest to the house and asserted the social status of its owner.

A rare folk ceramic table lamp, of generous proportions and striking decorative presence.

A provincial French Louis XV cabaret table in walnut, c. 1750. The top features a striking star-shaped parquetry pattern, a regional interpretation of parquet de Versailles, and is bordered by a raised surround characteristic of cabaret tables, originally intended to secure tea or coffee services.

The table includes a single drawer and a delicately scalloped waistband, resting on graceful cabriole legs terminating in stylised hoof feet, all typical of the Louis XV period. Its relatively low height suggests use as an occasional table, combining practical function with elegant proportions.

The use of solid walnut adds warmth and authenticity, creating a striking contrast with the expressive parquetry top and the flowing lines of the legs. A balanced and refined table, with graceful Louis XV forms and distinctive regional craftsmanship.

A late 18th-century Alpine folk marriage chest in hand-painted fir, c. 1780, possibly Swiss or Austrian Tyrol. The upper section opens from the top, while the lower section features a large drawer.

The front is decorated with finely painted garlands of roses, trailing foliage and scattered flowers set within architectural reserves, while a looser floral garland surrounds the original central locks. The painted decoration displays vivid red and pink roses, blue flowers and green foliage, with white highlights against a warm ochre ground. The composition depicts a variety of floral species, rendered in the confident vernacular style characteristic of rural Alpine painters of the late 18th century.

The chest stands on elegantly shaped bracket feet, adding lightness to its tall, rectangular form. Both practical and decorative, it offers generous storage while serving as a striking interior piece. A rare Alpine folk marriage chest with distinctive patina and strong vernacular character.

A late 18th-century French giltwood mirror in the Louis XVI style, decorated with a striking crest of cornucopias and ribbons, topped by a laurel wreath and flanked on either side by drapes. At the centre, a rectangular reserve holds a flaming heart in red against a blue background. The rectangular fluted cove frame features an elegant frieze of beads. Lively details and compelling carving animate the leaves of the cornucopias, heart and drapes. The giltwood surface bears a warm patina, revealing the red bole underneath, while the original mirror plate retains its authentic foxing.

A medium-sized mirror with balanced proportions and refined provincial carving.

A rare 17th-century Sicilian maiolica plate, c. 1680-1700, likely from Caltagirone or Palermo, painted in a vibrant palette of cobalt blue and yellow on an off-white ground

The central design depicts the bust of a lady in profile, richly dressed with long hair and jewellery, exhaling a delicate stream of flowers or perfume. This allegorical figure is set in a circular reserve defined by blue lines, while the lip features a refined frieze of radiating fans and shell ornaments. Painterly blue brushwork alternates with thin yellow lines to create a dynamic contrast of patterns, softened by touches of light green around the centre and along the frieze.

The playful figure is characteristic of the distinctive portraiture found in Sicilian ceramic production of the 17th-century, in which vases, albarelli and plates frequently feature whimsical portraits with unusual features in free, almost folk-like brushwork. Even within this tradition, this particular motif is notably rare, and compelling brushwork and refined details in the hair, dress and jewellery set is further apart. The frieze patterns recalls the scrollwork of Tuscany and Marche, interpreted with an emphasis on colour over line typical of Southern Italy.

Unrestored and in excellent condition, a rare and captivating plate, exemplifying the charm and spirit of Sicilian maiolica.

An early 20th-century oil painting on canvas depicting a woman seated at a table, reading a letter with a glove in hand. The sitter’s thoughtful pose creates an intimate, contemplative mood within a quiet interior, layered with bold patterned textiles, vibrant artwork, and an African sculpture in the background. Decorative rhythm guides the eye across the composition, from the folds of the shirt to the sculptural forms of the hat, sculpture, and objects on the table. A restrained palette is heightened by accents of blue and red, and the luminous white of the shirt. The African sculpture and abstract artwork suggest an early modern sensibility, offering insight into the artistic world of the sitter.

Presented in a 19th-century oak frame, signed lower left, and of impressive scale, this rare and distinctive work combines a captivating portrait with a refined early modernist interior, offering strong decorative appeal and a glimpse into an introspective, cultured world.

A pair of late 19th-century French rush-seat armchairs from Provence, retaining their original two-tone painted finish in soft yellow and light grey, gently worn to an authentic patina. The arched backs are carved in soft curves with shaped splats, while slightly scrolled armrests rest on turned supports. Rush seats are framed by shaped aprons, and turned legs are joined by an entretoise. With their warm colours and graceful design, this rare pair of rustic armchairs displays Provençal charm and elegant craftsmanship.