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Explore our latest additions, from antique French faience to Dutch Delft, early 20th-century paintings, and French provincial furniture. Curated for their individuality, craftsmanship and aesthetic presence.
A 1950 watercolour and gouache on board by Italian painter Raul Viviani (1883-1965), depicting a figure in a riverside landscape, surrounded by trees and grasses on a slope in the foreground, while the river and hills unfold in the background under a cloudy sky. A rich, earthy palette of green, yellow and brown casts the scene in a warm light, with the red classical dress of the figure standing out against the landscape. Strong diagonals are set against the verticality of the figure and trees, while the darker browns of the hill and the light green and yellow of the distant landscape create a distinctive depth. Fine brushmarks contrast with mottled areas, amplifying texture and light effects which, together with the figurative restraint, add an evocative quality to the scene.
Signed ‘Raul Viviani’ lower left, dated 1950 on the reverse, and glazed under a fabric mount in a green and gold frame that complements the colours of the work. A captivating modern Italian landscape.
Raul Viviani studied in Milan, entering the Accademia di Brera in 1898 and frequenting the Famiglia Artistica school under Giuseppe Mentessi. He took part in the Venice Biennale in 1912, producing modern landscapes with a sense of history, and showed thereafter in Italy, France and South America. In 1926 he became an art critic, serving as director of the Giornale dell’Arte from 1929. He founded the Accademia di Belle Arte di Montevideo in 1931, returning to Milan in 1937 to continue his artistic career.
An 18th-century Dutch Delft plate, decorated in the centre with a Chinoiserie landscape of oversized flowers along a lake, surrounded by foliage and enclosed in a patterned band. The lip features a vibrant frieze of floral patterns in green and red, finished with a band of dots. Dynamic brushwork in the frieze contrasts with the fine detail of the landscape, all rendered in lively polychrome colour.
An elegant Dutch Delft plate with lively patterns, unrestored and in very good condition.
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.
A 19th-century Continental blown glass ewer, possibly Spanish or from the South of France. The round body is raised on a piedouche foot, rising to a long neck with a frilled rim, and fitted with a thin handle and an elongated, scrolling spout. A large round stopper completes the piece. The glass carries a teal blue tint throughout and captivating blown textures, from tiny bubbles to thicker glass where the handle joins the body.
A striking blown glass ewer of impressive scale and form.
An 18th-century Dutch Delft plate, decorated in blue on a light blue ground with a chinoiserie landscape of trees and blooming shrubs, enclosed by a fence. The lip features a frieze of rocks surrounded by elongated florals and foliage. The architecture of the fence adds a sense of geometry to the landscape, emphasised by the verticals of the trees and softened by floral patterns and light, painterly brushwork.
Marked underneath for De Porceleyne Byl factory. An elegant Delft plate, unrestored and in very good condition.
A mid-18th-century French faience plate from Moustiers, decorated in the centre with a spray of flowers in an elegant camaieu of ochre. The blooms are loosely scattered and rendered with botanical interest, set against the fuller frieze of florals that runs abundantly around the lip. The edge is delicately shaped and finished with orange bands.
A refined floral plate in a restrained palette, unrestored and in very good condition.
A 19th-century Italian oil painting on board depicting ecclesiastical emblems in gold against a deep forest-green ground. A bishop’s mitre stands in the centre, its lappets falling in graceful loops, above a crosier and a processional cross arranged in a bold cross motif. The emblems are rendered in warm gold, with sculptural highlights of ochre giving the composition relief against the dark background. Presented in its original giltwood frame, with a bold, thick moulding, the gilt surface showing honest patina and the sides painted green.
A characterful devotional work in rich colour.
An early 18th-century French faience dish from Nevers of oval shape, decorated in blue and white with a Chinoiserie motif of a bird amidst flowering shrubs. The edge is elegantly gadrooned, adorned with refined scrolls, foliage and lambrequins. The gadrooned shape and vibrant patterns, combined with a deep blue colour, add movement to the dish. Pierced at the back for wall-hanging.
A lively blue and white dish, unrestored and in very good condition.
An 18th-century Dutch Delft plate, decorated in blue and white with an orange line to the edge. The centre features a chinoiserie landscape with a folly set beside a lake, surrounded by rocks, leafy trees and a figure on a bridge, all within a circular scalloped reserve. The lip features a frieze of scrolls and foliage. Bold brushwork and lively patterns in the frieze add movement to the plate, while the characterful details of the landscape lend an evocative, figurative quality.
A bright Dutch Delft plate, unrestored and in very good condition.
A 19th-century Continental blown glass carafe, possibly Spanish or from the South of France. The round body, rising to a long neck, and fitted with an elongated, thin handle and a small spout. A large round stopper completes the piece. The glass carries a teal blue tint throughout and captivating blown textures, from tiny bubbles to thicker glass where the handle joins the body.
A striking blown glass ewer of impressive scale and form.
An 18th-century Dutch Delft tile mural, depicting a bird among grapevines, surrounded by foliage, grapes and a butterfly. Possibly part of a larger mural, the fragmentary nature of the composition adds dynamism, with the body of the bird and some of the grapes cropped by the tiles, playing with the vertical format. Characterful details and curving forms, from the large, perfectly round grapes to the detailed leaves and butterfly, add movement to the rectangular composition. Painted in an elegant camaïeu of manganese, the transparency of the brushwork adding relief to the scene.
A characterful mural, mounted in a stained wood frame, in excellent condition.
An 18th-century Dutch Delft dish, decorated with a peacock perched on rocks, surrounded by bushes under a cloudy sky, in an elegant palette of blue on a light blue ground. The lip is adorned with a patterned frieze of scrolls and sprays of foliage. Bold brushwork is paired with characterful details in the rendering of the peacock, from the overly round shape of the rocks to the dots on its feathers, creating a dynamic sense of movement.
A bright Delft country dish in refined colour, unrestored and in excellent condition.
A 19th-century French gouache on paper, depicting a rooster with the words 'Credit will be given when the rooster crows' ('Quand le coq chantera, crédit on fera'), a motto in French popular culture that was written alongside depictions of roosters and hung in cafés and shops as a humorous way to deter customers from asking for credit. The rooster is rendered in bright colours on a textured off-white background, the green and blue of its sickle and wing feathers set against its red comb and brown body. It stands on a ridge in brown, red and yellow, surrounded by shrubs, just above the motto rendered in elegant lettering.
A captivating level of detail sets this work apart from other folk depictions of roosters, with fine white strokes, dots and dark green patterns on the wing adding depth and texture, while long painterly brushwork accentuates the curves of the feathers. It is painted on two sheets, glazed in its original pitch pine frame.
A rare French folk work, with attention to colour and detail.
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.
An 18th-century English Delft bowl, possibly Lambeth, decorated in blue and white with large blooming flowers and trailing foliage on the outer body. The inside of the bowl features sprays of flowers and foliage, finished by a frieze of geometric patterns and an orange line on the rim. Painterly, loose brushwork adds a graceful movement, while the deep blue tones and orange lines create a bright contrast with the off-white ground. The bowl has a refined round shape, with tall walls on a small foot.
A rare floral bowl, unrestored and in excellent condition.
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 mid-18th-century French faience plate from Marseille, c. 1760, decorated with a bouquet of roses in manganese and yellow, surrounded by wild flowers and foliage. The edge is delicately shaped and highlighted by an orange line, while the lip is decorated with sprays of wildflowers and foliage. The blooming flowers are rendered in exquisite, naturalistic detail, adding botanical interest. Vibrant colours and soft brushwork create an elegant painterly effect, while the off-centre placement of the main bouquet introduces movement, the remaining flowers scattered gracefully across the lip.
The manganese rose decor was invented in Marseille by Joseph II Fauchier in the mid-18th century, its scattered florals in refined colours gaining particular popularity in the South of France.
A rare Marseille faience plate, in very good condition and unrestored.
An early 20th-century French oil painting on canvas, depicting a still life of fruits in a compotier, with a wine glass and bottle beyond and game on a cloth in the foreground. The composition is set in a warm palette of red, orange and brown against a cool grey background. Dynamic, considered brushwork animates the scene, amplifying the materiality of the fruits and lending texture to their surroundings. The pattern of the draped cloths introduces a fluid movement, while the bottle and glass anchor the composition vertically. With its elegant wide bowl and stemmed base, the compotier is a recurring motif in modern still life, its refined shape set in charming contrast with the everyday character of the bread, fruit and glassware.
Presented in a period giltwood frame, a characterful modern still life with considered colour.
An 18th-century Dutch Delft dish, decorated with a windmill in a landscape, surrounded by country fences under a cloudy sky in blue, yellow and manganese. The lip is adorned with a patterned frieze of scrolls and sprays of foliage. Bold brushwork is paired with vibrant colour to create dynamic movement while characterful architectural details in the windmill lend an evocative quality to the scene. The underside features a darker ivory glaze.
A Delft country dish with a lively sense of pattern.
A rare pair of 18th-century Dutch Delft plates, decorated with a luxurious peacock pattern in blue and white, featuring a cup overflowing with feathers, flowers, and foliage. The lip is adorned with an ornate frieze of scrolls and similar motifs, while a yellow line elegantly accents the edge. Marked to the underside for the De Klaauw factory.
A sought-after pair of Delft plates with a rich, intricate design.
An 18th-century Dutch Delft dish, decorated with a bird perched on rocks, surrounded by shrubs under a cloudy sky in blue, yellow and manganese. The lip is adorned with a patterned frieze of scrolls and sprays of foliage. Bold brushwork is paired with vibrant colour to create dynamic movement, while characterful details in the rendering of the bird and rocks lend a folk quality to the scene. The underside features a darker ivory glaze.
A Delft country dish with a lively sense of pattern.
A 19th-century French watercolour and graphite drawing on yellow tracing paper, depicting a print rack containing several paper sheets, standing on a four-footed base, its two panels linked by a small chain. It is adorned with finely turned wood balusters, architectural arcading to the base and scrolling feet, the precision of the graphite line highlighting the intricate decoration of the rack, while watercolour lends a painterly wood texture and subtle shadow. A stamp to the lower left corner bears part of a firm name, the word "furniture" and an address on rue de Charonne in Paris, a neighbourhood famous for its furniture workshops, suggesting the drawing was an artistic impression for clients. Glazed in a stained wood frame under a double ivory mount.
Likely coming from a Parisian furniture workshop, a finely rendered drawing of an ornate print rack.
A mid-19th-century French papier-mâché pencil holder in the Napoleon III style, decorated in gold with a partridge and butterfly among grasses and flowering branches before a lake, on a black ground. With a charming petite size, the piece has a wide base and a delicately scalloped top edge. Refined details, from the partridge's feathers to the layering of grasses and shrubs, lend interest throughout, the typical Napoleon III palette of black and gold elegantly combined with the handmade texture of papier-mâché.
An elegant decorative piece with functional charm.
A midcentury lithograph on paper by French painter and printmaker Charles Lapicque (1898-1988), depicting figures walking down a path through a lush forest beneath a cloudy sky. A contrasting palette of pink, blue, green and sand creates a bright atmosphere, patches of colour alternating with expressive brushwork to a joyous, pattern-like effect that lends the scene a sense of abstraction. Characterful details add lightness throughout, from the figures walking in pairs to the lush rendering of the forest and the squiggly shape of the clouds. Numbered 88/95 lower left and signed 'Lapicque' lower right. Glazed in a stained wood frame.
A characterful lithograph with bright colour and painterly shapes.
An 18th-century French fir wood candlestick of provincial origin, converted to a table lamp. The turned wood column stands on a wide triangular base, raised on three, likely later, feet. The stained wood surface has a warm patina, with distinctive wax stains and marks.
A textured table lamp with elegant architectural form.
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 early 20th-century Venetian mirror of tapered shape. The bevelled mirror plate is surrounded by a shaped mirrored frame, finished with four foliate elements to the corners and topped by an openwork crest of five foliate scrolls, ending with a shaped finial at the bottom. It is decorated throughout with etched flowers and foliage, as well as fluted glass beads, and finished with an ebonised backing.
A highly decorative mirror, its striking shape combined with delicate florals.
A pair of 18th-century Dutch Delft dishes, decorated in blue and white with a building in a landscape, surrounded by lush trees, enclosed within a round reserve and framed by a frieze of strapwork on a radiating striped ground. The lip is adorned with scrolls and foliage, alternating with circles. This abundant sense of pattern is set in contrast with the figurative nature of the scene, its characterful architectural details, lush trees and clouds composing a lively pastoral view.
A rare and captivating pair of Delft dishes.
An early 20th-century oil painting on canvas by French artist Fernand Combes (1856–1943), depicting a mill with a large wooden wheel, surrounded by trees and buildings, the scene viewed from below with a slope of grass and rocks in the foreground. A warm palette of ochres, browns and green contrasts with the blue of the sky, the striking perspective highlighting the hilly position of the cluster of buildings, with a stream running through the wheel towards the back of the slope. The warm palette, together with the repetitive brushwork of the rocks and stone wall, evokes the regional character of the architecture from the South of France, its dark tones lending the scene an evocative atmosphere. Signed to the lower part of the artwork.
The painting is mounted in a striking, impressively scaled Montparnasse frame of cassetta form, with egg-and-dart and rope patterns highlighted in red and gold. Signed to the lower part of the artwork.
An evocative country scene, paired with a striking sculptural frame.
An early 18th-century Dutch Delft vase converted to a table lamp, of classic garlic neck form raised on an octagonal base. It is decorated in blue and white with evocative Chinoiserie lakeside landscapes set in vertical reserves, featuring figures by a bridge amid leafy shrubs, trees and distant mountains. The landscapes are framed by flowing vertical brushmarks on the base and neck, alternating with refined friezes of foliage, scrolls and flowers. Pattern-like brushwork and the contrast between fine linework and painterly washes create a refined, atmospheric composition. Marked underneath for De Porceleyne Byl factory.
A classic Delft lamp with elegant Chinoiserie decoration.