ROSEUS

I curated an interior where soft light drifts through pale drapery, setting a hushed stage where centuries meet.

The Roman marble Dionysus (2nd century A.D.) stands incomplete yet commanding, his presence grounded in myth and permanence.

Behind him, Jean Dunand’s Les cygnes screen (c. 1932) shimmers quietly, its lacquered surface echoing movement and restraint.

An André Arbus chair (1935) offers measured elegance, while a Jean Dunand vase (c. 1925) rests ceremonially on an Eugène Printz game table (c. 1935), turning function into ritual.

Above, Antonello da Messina’s Ecce Homo; Saint Jerome in Penitence introduces a contemplative gravity.