Pair of French 1920s Gagneau Paris Steel and Brass Table Lamps with Waterleaves

A pair of French Empire style bronze and opaline glass candelabra table lamps from the early 20th century, with scrolling arms and volutes. Created in France during the first quarter of the 20th century, each of this pair of table lamps attracts our attention with its bronze scrolling arms resting upon a white opaline glass pedestal. Raised on a tripartite base accented with delicate volutes, the candelabras have been rewired for the US. With their Empire silhouette...

A pair of French steel and brass table lamps from the mid 20th century, with lucite bases. Created in France during the midcentury period, each of this pair of table lamps features a truncated steel obelisk adorned with a brass ribbon-tied laurel wreath. Wired for the US and mounted on lucite bases, this pair of French steel and brass midcentury table lamps will bring a stylish presence to any home, perhaps displayed atop a pair of buffets...

A pair of marble and bronze vase-shaped table lamps from the early 20th century, with volutes and lucite bases. Created in France during the first quarter of the 20th century, each o...

A pair of French Neoclassical style opaline glass urn-shaped table lamps from the 20th century, with brass accents. Created in France during the 20th century, each of this pair of table lamps captures our attention with its Classical urn-shaped silhouette perfectly accented by its opaline glass and brass details. Each showcasing two sockets, foliage motifs and raised on a square base, this pair of French Neoclassical style opaline table lamps will bring an undeniable touch of graceful elegance to any home, perhaps displayed atop a pair of commodes...

A green glazed 1920s pottery table lamp with raised floral motif, brown accents and circular wooden base. Evoke a sense of classic elegance with this exquisitely designed 1920s green glazed pottery table lamp. This meticulously crafted luminary brings together the charm of vintage and the ease of modern technology, making it an ideal lighting solution for discerning homeowners and interior designers. The lamp showcases a raised floral motif, skillfully applied onto a glazed green body, creating a visually compelling play of light and shadow. Subtle brown accents, thoughtfully dispersed, lend depth and dimension, enhancing the lamp's vintage allure. Seated on a circular wooden base, this piece exudes an air of time-tested stability. The graceful contours of the lamp serve to amplify its character, infusing a soothing ambiance into any room. Newly and professionally wired for the USA, this lamp ensures seamless integration with contemporary interiors. It symbolizes a harmonious blend of design aesthetics and functionality, appealing to both collectors and lovers of vintage lighting fixtures. Discover the timeless beauty of this glazed green pottery table lamp...

An Italian carved and gilded wooden table lamp from circa 1920 with inset mirrors and radiating sunburst base. Indulge in the opulent allure of this Italian carved and gilded wooden ...

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...

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 1920s brass church candlesticks converted into lamps. Lamps are quite heavy.

- Good original condition - Rewired , E26-E27 bulb US wiring compatible

A charming French table lamp with distinctive lion feet, showcasing its elegant French origin. Crafted in a timeless bronze color, this lamp exudes a sense of vintage allure, adorned...

Art Deco rare ROBJ Paris table lamp with Rethondes glass shade, France 1920s Very rare, finely worked wrought iron table lamp in leafage motif, supported by a round base and 4 hammer...