Gagneau, Pair of Louis XVI Style Lamps in Porcelain, End of the 19th Century

Maison Gagneau, signed. Pair of baluster shape lamps in guilloche gilt brass. They stand on a circular base. The collar is circled with a silvered ring...

Pair of Valentine porcelain lamps with two small lezards on the sides forming handles. Porcelain decorated with flowers with cobalt blue and gilt h...

Maison Gagneau, signed. Pair of baluster shape Louis XVI style lamps in guilloche brown brass. Chiselled and gilt bronze mount. High of the mount with...

Pair of Bayeux porcelain lamps on a white background with a polychromatic decoration in the Chinese Canton style porcelain. On one side, a scene with Chinese dignitaries on a cartouc...

Pair of calabash-shaped lamps in Gien porcelain. Body adorned with floral motifs and figurative decor on a white background in which we can see human figures and objects. Mount and b...

Pair of baluster shape lamps in Canton porcelain and gilt bronze. Decor of pattern flowers surrounding a medallion which represents a genre scene. Chiseled and gilt bronze mount. Ape...

A stunning and wonderfully detailed pair of French 19th century Louis XVI st. Ormolu lamps, signed Gagneau Paris. Each lamp is raised by a circular pedestal with a beaded edge. Above...

Pair of large Japanese Porcelain Cone Shape Vases with Imari decoration Important mounts in ormolu and gilded metal, the base decorated with a laurel wreath, the upper part of falling leaves and a frieze of knotted ribbon. The mounts signed Gagneau, 115 R. Lafayette. Circa 1860 With their original aluminium bulb cover and original gilding Vase it self Height 47 cm The Gagneau Company is one of the most famous lighting factories in Paris in the nine-teenth century, established in 1800 at 25 rue d'Enghien in Paris and later at 115 rue de Lafayette. She has participated in many exhibitions throughout this century. She began in 1819 with the Exposition des Produits de l'Industrie and later participated in the Universal Exhibitions where she was part of the jury in the category of art bronzes (class 25) at the Universal Exhibition in Paris in 1889. "Imari" was simply the trans-shipment port for Arita wares, from where they went to the for-eign trading outposts at Nagasaki. It was the kilns at Arita which formed the heart of the Japanese porcelain industry. Arita's kilns were set up in the 17th century, after kaolin was discovered in 1616. A popular legend attributes the discovery to an immigrant Korean potter, Yi Sam-Pyeong (1579–1655), although most historians consider this doubtful. After the discovery, some kilns began to produce revised Korean-style blue and white porcelains, known as Early Imari, or "Shoki-Imari". In the mid-17th century, there were also many Chinese refugees in northern Kyushu due to the turmoil in China, and it is said that one of them brought the overglaze enamel coloring technique to Arita. Thus Shoki-Imari developed into Ko-Kutani, Imari, and later Kakiemon, which are sometimes taken as a wider group of Imari wares. Ko-Kutani was produced around 1650 for both export and domestic market.Kutani Ware is characterized by vivid green, blue, purple, yellow and red colors in bold designs of landscapes and nature. Blue and white porcelain pieces continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are ac-cordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon-style Imari, which was produced for about 50 years around 1700. Kakiemon was characterized by crisp lines, and bright blue, red and green designs of dramatically stylized floral and bird scenes. Imari achieved its technical and aes-thetic peak in the Kakiemon style, and it dominated the European market. Blue and white Kakiemon is called Ai-Kakiemon. The Kakiemon style transformed into Kinrande in the 18th century, using underglaze blue and overglaze red and gold enamels, and later additional colors. Imari began to be exported to Europe when the Chinese kilns at Jingdezhen were damaged in the political chaos and the new Qing dynasty government halted trade in 1656–1684. Ex-ports to Europe were made through the Dutch East India Company, and in Europe the des-ignation "Imari porcelain" connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China resumed export to Europe, since Imari was not able to compete against Chinese products due to high labor costs. By that time, however, both Imari and Kakiemon styles were already so popular among Eu-ropeans that the Chinese export porcelain copied both, a type known as Chinese Imari. At the same time, European kilns, such as Meissen and English potteries such as Johnson Bros. and (Royal) Crown Derby, also imitated the Imari and Kakiemon styles. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe.Thus, in the western world today, two kinds of true Japanese Imari can...

A most elegant pair of French 19th century Louis XVI st. porcelain and ormolu Pâte sur Pâte lamps. Each lamp is raised by a fine ormolu base with mo...

A charming and high quality pair of French 19th century Louis XVI st. cobalt blue porcelain and ormolu lamps. Each small scale lamp is raised by an elegant circular mottled base with...

A most elegant pair of French 19th century Louis XVI st. ormolu, faux painted Porphyry and Bleu Turquin marble lamps. Each lamp is raised by a wonderfully executed triangular shaped ...

An exquisite pair of French 19th century Louis XVI st. patinated bronze, ormolu and Vert de Patricia marble candelabra lamps. Each lamp is raised by an elegant circular base with fin...