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COLLECTION CADRES IMPRESSIONNISTES
(Impressionist Frames Collection)
This collection reimagines the frame—not as boundary, but as portal. Through carefully composed views of historic French interiors and façades, each image offers a museum-like gaze into the architecture and art of the Ancien Régime but revisited now with an Impressionist’s camera. In high resolution, layers of grandeur and intimacy unfold—gilded moldings, mirrored thresholds, and ornamental vistas are both illuminated and transformed. Guided by a curator’s eye and a designer’s precision, these works celebrate both the grandeur and formality of the past while artfully reframing its core creative spirit.
Select an image to discover edition sizes and the inspiration behind its creation.
Cadre Empire, Orange ModerneCadre Empire, Orange ModerneSet within the Paul Marmottan dining room—designed by the collector himself in the elegant Empire style—this mirrored composition magnifies the room’s symmetry and grandeur. At its heart, a gilt-bronze surtout de table by Pierre-Philippe Thomire, once owned by Lucien Bonaparte, anchors the scene amidst furnishings originating from Napoleon’s Tuileries Palace.
Yet impossibly, a luminous orange rests atop the basket in an unexpected and daring use of scale and color, punctuating the composition. This vivid intrusion channels the spirit of the Impressionists nearby—artists liberated from the constraints of traditional painting by the advent of the “new” camera. In this doubled and refracted space, the photographic act becomes an Impression in its own right: inventive, free, and quietly rebellious.
Sublimation Dye Print on Aluminum
48” × 48” (Frame 49” × 49”)
Signed Edition of: 5
39” × 39” (Frame 40” × 40”)
Signed Edition of: 7
24” × 24” (Frame 25” × 25”)
Signed Edition of: 10
Signed, titled, dated and numbered on artist’s label on verso.
Cadre Empire, Orange Moderne
Cadre Palais Royal, ParisComposed from a mirrored quadrant of the Palais Royal’s neoclassical façade, this image reframes the architectural grandeur of 18th-century Paris into a new kind of viewing device. At its core, a precise alignment of cornices, windows, and sky creates a geometric “oculus,” surrounded by rhythmically repeated windowpanes.
Through this structure—ornate yet restrained—emerges an unexpected apparition: a single waterlily from Monet’s Nymphéas Bleus, suspended in the center. The effect is both formal and fluid, suggesting a conversation across centuries: from the ordered elegance of Enlightenment-era design to the immersive atmosphere of late Impressionism. The photograph becomes a frame for impossible connections—between architecture and painting, structure and dream.
Sublimation Dye Print on Aluminum
48” × 48” (Frame 49” × 49”)
Signed Edition of: 5
39” × 39” (Frame 40” × 40”)
Signed Edition of: 7
24” × 24” (Frame 25” × 25”)
Signed Edition of: 10
Signed, titled, dated, and numbered on artist’s label on verso.
Cadre Palais Royal, Paris
Le miroir du DauphinThis photograph reimagines a grand frame from the Antichambre du Capitaine des Gardes at Versailles—a vestibule created for practical function: to house the royal guard and control passage to the royal apartments. Anchored in duty and vigilance, the space offered proximity to the monarchy, but little of its luxury.
Where a stately portrait once hung, a luminous carved panel from the recently restored Library of the Dauphin now appears, rendered in rich tones of royal blue and mossy green. This glimpse into a more intimate and cultivated setting—a place of study, design, and light—offers quiet contrast to the formality of the surrounding Guard Room.
The ornate gold frame becomes a portal: between protection and reflection, ceremonial space and private interior, command and contemplation. In the foreground, 18th-century chairs in deep crimson provide a warm counterpoint to the cooler palette, while the black-and-white marble floor reaffirms the architecture’s solemn rhythm.
Where once a royal likeness held court, the eye now travels inward—toward a contemplative geometry of window, parquet, and carved wood. A new conversation unfolds: not between monarchs and their subjects, but between spaces of vigilance and spaces of thought.
Sublimation Dye Print on Aluminum
42” x 60” (Framed 43” x 61”) Signed Edition of: 10
35” x 50” (Framed 36” x 51”) Signed Edition of: 15
Signed, titled, dated, and numbered on artist’s label on verso.
Le miroir du Dauphin
I.M. VaserelyFrom a higher floor of the Louvre, the familiar pyramid by I.M. Pei takes on a sharper angle when viewed from above, approaching a near 90-degree slope. This dramatic perspective transforms the pyramid into something closer to a cube, framed by four precise corners.
Rain puddles glisten at its base, visitors queue with umbrellas in hand hardly disrupting the pyramid’s apparent precision. The transparency of the mirrored panes reveals a new, imaginary interior—a space both architectural and abstract.
Set within a perfect square, then rotated to diamond orientation, the visual logic of Op Art pioneers like Victor Vasarely in the 1970s comes to mind. The title, a hybrid: a meeting between I.M. Pei’s modernist icon and Vasarely’s geometric legacy.
Sublimation Dye Print on Aluminum
48” x 48” (Framed 49” x 49”)
Signed Edition of: 5
39” x 39” (Framed 40” x 40”)
Signed Edition of: 7
24” x 24” (Framed 25” x 25”)
Signed Edition of: 10
Signed, titled, dated, and numbered on artist’s label on verso.
I.M. Vaserely
Cadre étoiléA glimpse upward into the ornate dining room of the Musée d’Orsay’s restaurant—originally designed as a ballroom in the former Orsay train station, completed in 1900—reveals a gilded frame that anchors the space in the refined elegance of French neoclassicism and Baroque tradition. Within this richly detailed setting appears a fragment of Vincent van Gogh’s La Nuit étoilée (1888), painted directly onto the ceiling.
The contrast is striking: Van Gogh’s swirling, expressive brushstrokes and vibrant night sky—painted just over a decade before the ballroom’s completion—bring a lively spontaneity that gently disrupts the room’s formal grandeur. This suspended scene invites a dialogue between the room’s historic grace and the immediacy of post-Impressionist vision, offering a glimpse of modernity framed by tradition.
Sublimation Dye Print on Aluminum
48” x 48” (Framed 49” x 49”) Signed Edition of: 5
39” x 39” (Framed 40” x 40”) Signed Edition of: 7
24” x 24” (Framed 25” x 25”) Signed Edition of: 10
Signed, titled, dated, and numbered on artist’s label on verso.
Cadre étoilé
Nouvelle Entrée Château Maisons-LaffitteThis image reimagines the central vestibule of the Château de Maisons, a French Baroque masterpiece by François Mansart, whose clarity of vision helped shape the architectural ambitions of Versailles. In this early but pivotal work, Mansart relocated the grand staircase to the side, establishing a direct axial flow between entrance court and garden—a radical symmetry that reshaped the ceremonial experience of space.
Here, four monumental lanterns are suspended on black iron chains, forming a bold diagonal across the pale stone interior. Flanked by classical columns and sculpted allegories of the four elements, the space asserts a visual equilibrium—symmetry held in tension, mass balanced by light.
Once a threshold for power and pageantry, the vestibule becomes, in this composition, an architecture of composed permanence: centered, silent, and unwavering.
Sublimation Dye Print on Aluminum
48” x 48” (Framed 49” x 49”)
Signed Edition of: 5
39” x 39” (Framed 40” x 40”)
Signed Edition of: 7
24” x 24” (Framed 25” x 25”)
Signed Edition of: 10
Nouvelle Entrée Château Maisons-Laffitte
Cadre du Dauphin
Cadre du Dauphin: Jardin Intérieur
Monture Royale: Orfèvrerie BoulleBorn from the craftsmanship of André-Charles Boulle, this composition draws on a single, exquisitely detailed section of a grand cabinet in the Louvre—specifically, the lower edge of a drawer front. Created in Paris between 1685 and 1715, the original cabinet exemplifies Boulle’s mastery of marquetry and ormolu: elaborate brass inlay, tortoiseshell, and finely cast bronze work brought together with royal precision.
Here, that narrow ornamental band has been reimagined and reflected across four quadrants, forming a jewel-like architectural frame. At its center rests an unusually large square-cut diamond, an invented gem that transforms the functional into the ceremonial. The result is a meditation on scale, symmetry, and splendor—an homage to decorative arts as regal theatre.
Sublimation Dye Print on Aluminum
48” × 48” (Framed 49” × 49”) Signed Edition of: 5
39” × 39” (Framed 40” × 40”) Signed Edition of: 7
24” × 24” (Framed 25” × 25”) Signed Edition of: 10
Signed, titled, dated, and numbered on artist’s label on verso.
Monture Royale: Orfèvrerie Boulle
Perspective CamondoPart architecture, part illusion, this composition centers on an oversized cobalt blue meiping-type vase that commands the space, its bold circular form contrasting with pale paneled walls and a parquet floor fractured into diamond shapes.
Seen from a corner staircase balcony, the view looks down into a vaulted hallway mirrored above and below, opening onto four salons arranged in perfect symmetry.
Tall gilded mirrors rise above each doorway, accompanied by curved wall shelves that hold slender blue-and-white columnar vases. These are reflected repeatedly, creating a rhythmic display of porcelain surrounding the central vase.
The setting is the Musée Nissim de Camondo, a refined Parisian mansion built in 1911 to showcase Count Moïse de Camondo’s 18th-century decorative arts collection. Inspired by the Petit Trianon, the home remains a timeless testament to elegance, reflection, and harmony.
Sublimation Dye Print on Aluminum
48” x 48” (Framed 49” x 49”)
Signed Edition of: 5
39” x 39” (Framed 40” x 40”)
Signed Edition of: 7
24” x 24” (Framed 25” x 25”)
Signed Edition of: 10
Signed, titled, dated, and numbered on artist’s label on verso.
Perspective Camondo
Cadre Bibliothèque DauphinBathed in filtered light from a central window, seen only as slender slivers of glass, this image captures a moment of stillness within the Dauphin’s private library at Versailles—a space once designed for reflection and study by the heir to the French throne. The carved blue and white paneling fans open like a screen, its natural, foliage-inspired reliefs catching the light where the panels hinge closest to the source.
Framed in shadow and architectural rhythm, the composition invites quiet contemplation. Reflections expand the space: the square parquet floor transforms into a diamond-shaped lattice, subtly punctuated by bronze floor vents—modern notes embedded within the refined harmony of Ancien Régime design.
Sublimation Dye Print on Aluminum
48” × 48” (Framed 49” × 49”) — Signed Edition of: 5
39” × 39” (Framed 40” × 40”) — Signed Edition of: 7
24” × 24” (Framed 25” × 25”) — Signed Edition of: 10
Signed, titled, dated, and numbered on artist’s label on verso.
Cadre Bibliothèque Dauphin
Cadre Vol d’OmbreBeneath the grand staircase of the Musée Nissim de Camondo, a modest oval window looks out onto a quiet Parisian street. In this mirrored composition, that window becomes a frame—repeated and reimagined across three horizontal bands that permit new shadows to appear.
A pair of carved neoclassical vases anchor the lower and middle registers, each crowned by a stone bird. Shadow wings are seen below, perched on the vase itself—poised as if ready for flight. The shadow has soon lifted and continues its upward journey in the middle stage. And in the uppermost section, the shadow has disappeared, leaving only the light: the bird, imagined or real, has taken wing.
Sublimation Dye Print on Aluminum
48” x 48” (Framed 49” x 49”)
Signed Edition of: 5
39” x 39” (Framed 40” x 40”)
Signed Edition of: 7
24” x 24” (Framed 25” x 25”)
Signed Edition of: 10
Signed, titled, dated, and numbered on artist’s label on verso.
Cadre Vol d’Ombre
Monture Royale: Éclat de SèvresThis image features the iconic Medici Sèvres vase from the Galerie de Diane at the Château de Saint-Cloud, created 1783–1840 at the Sèvres factory. The vase, originally delivered to Versailles in December 1783, was designed as a one-of-a-kind, gilded presentation piece for the king. It is attributed to bronzier Pierre Philippe Thomire, sculptor Louis Simon Boizot, and the workshop of Henri de Triqueti (pedestal).
Upended while in its current resting spot at the Louvre, this exceptional work—showcasing the artistry and royal prestige of the Sèvres factory, the official porcelain manufactory of the French crown—has been reproduced three more times without authorization to form a setting for an impossibly large one-of-a-kind diamond.
Sublimation Dye Print on Aluminum
48” x 48” (Framed 49” x 49”) Signed Edition of: 5
39” x 39” (Framed 40” x 40”) Signed Edition of: 7
24” x 24” (Framed 25” x 25”) Signed Edition of: 10
Signed, titled, dated, and numbered on artist’s label on verso.
Royale: Éclat de Sèvres
Cadre vert paysagéConstructed between 1703 and 1721, the Château de Champs-sur-Marne stands as a refined example of early 18th-century French classical architecture, attributed to architect Pierre Bullet. This composite image layers views of the château’s formal gardens and front entrance to reveal new perspectives on its timeless elegance.
At the center, the château itself appears mirrored, grounding the composition with its stately presence. Flanking the foreground, delicate wildflowers grow along the edges of a window frame near the entrance, their fragility contrasting with the grandeur behind them.
Surrounding this core, mirrored pairs of white marble urns evoke the neoclassical spirit, set before sculpted topiary trees. Shifting perspectives transform the formal landscaping into a dynamic green living frame for the architecture, revealing new angles and relationships.
Sublimation Dye Print on Aluminum
44" X 60” (Framed 45” x 61”)
Signed Edition of: 5
30" X 22” (Framed 31” x 23”)
Signed Edition of: 7
Signed, titled, dated, and numbered on artist’s label on verso.
Cadre de verdure
Passages de la RévolutionSublimation Dye Print on Aluminum
48” x 48” (Framed 49” x 49”)
Signed Edition of: 5
39” x 39” (Framed 40” x 40”)
Signed Edition of: 7
24” x 24” (Framed 25” x 25”)
Signed Edition of: 10
Built between 1781 and 1784 under the commission of Louis-Philippe II, Duke of Orléans, the colonnades of the Palais Royal transformed this historic site into one of Paris’ first commercial and social hubs. Lined with boutiques, cafés, and theaters, these arcades became a gathering place for intellectuals, revolutionaries, and ordinary citizens alike. By 1792, renamed Palais-Égalité, the space fostered the spread of radical ideas, earning its place as a cradle of the French Revolution. Beneath these classical columns, voices echoed with debate, shaping the course of history.
Passages de la Révolution
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