A pair of mid-to-late 20th-century clip-on earrings by Fabrice Paris, each set with lustrous mother-of-pearl plaques in a polished gilt metal surround. The cool iridescence of the shell contrasts with the warmth of the mount, creating a quietly opulent look that captures the era’s chic costume jewellery aesthetic.
XX cm W × XX cm D
Marked, Fabrice Paris.
A generously proportioned Imari bowl, circa 1900, painted in the traditional palette of iron red, cobalt blue, and gilt over a white ground. The exterior and interior panels are decorated with stylised florals and geometric reserves, a composition that balances bold colour with refined detail in the late-Meiji manner. The generous size makes it as suited to the table as to display, embodying the enduring appeal of Imari ware in both East and West.
XX cm Ø × XX cm H
A sculptural fruit bowl by Daum, France, produced in the 1960s. Its oblong form tapers to rounded ends, the body rising in curvilinear sweeps that catch and refract the light with the maison’s signature clarity. The restrained silhouette is elevated by the hand-finished fluidity of mid-century French art glass, a testament to Daum’s mastery of form without ornament.
XX cm W × XX cm D × XX cm H
Marked on the base in diamond point: Daum.
A flamboyant flamingo brooch by Christian Dior, produced in the 1980s and realised in the house’s signature jewelled style. The flamingo—its neck elegantly arched and plumage rendered in vivid enamel and crystal—captures the era’s flair for bold, figural costume jewellery that straddled the line between whimsical ornament and haute couture accessory.
7.5 cm W × XX cm D
Marked Chr Dior to the reverse.
An iconic bee brooch by Christian Dior, produced in the 1980s and set with jewelled accents in the house’s characteristically refined palette. The bee motif—at once a symbol of industry, elegance, and imperial favour—has been a recurring theme in Dior’s decorative lexicon since the mid-20th century, echoing both couture detailing and historic regalia.
XX cm W × XX cm D
Marked Dior to the reverse.
A Murano glass scavo vase by Seguso Vetri d’Arte, produced between the mid-1970s and early 1980s. The scavo technique lends an antique look to the object, making it appear as if it has been excavated from under soil, which is typical of glass objects found during archaeological diggings.
17cm ⌀ × 22cm H
Unsigned.
A Murano glass scavo vase by Seguso Vetri d’Arte, produced between the mid-1970s and early 1980s. The scavo technique lends an antique look to the object, making it appear as if it has been excavated from under soil, which is typical of glass objects found during archaeological diggings.
20cm ⌀ × 24.5cm H
Unsigned.
A Murano glass scavo bowl by Seguso Vetri d’Arte, produced between the mid-1970s and early 1980s. The scavo technique lends an antique look to the object, making it appear as if it has been excavated from under soil, which is typical of glass objects found during archaeological diggings.
35cm ⌀ × 10.5cm H
Signed to the base.
A set of three mid-century sterling silver dishes by the Danish silversmith Anton Michelsen, marked A. Michelsen, Sterling, Denmark to the reverse. Each is covered in white enamel and hand-painted with floral motifs, the delicate brushwork contrasting with the precision of the underlying silver form.
7cm ⌀ each
A set of six mid-century demitasse spoons by the Norwegian jeweller and silversmith J. Tostrup, each decorated with a guilloché enamel surface. Marked Sterling, J. Tostrup, Norway, the set reflects the firm’s reputation for precision workmanship and refined decorative detail, qualities that made Tostrup a leading name in Scandinavian silver throughout the 20th century.
9.5cm L
