Spelter Garniture

19th Century patinated copper vessel with iron handles.

Elevate your home or garden with this exquisite pair of marble urns, each a masterpiece of design and craftsmanship. These solid, heavy urns undersc...

An exceptionally fine pair of English Staffordshire Porcelain mantle vases now converted to electric table lamps of medium proportions, Circa 1860. Of traditional bulbous outline ...

This stylish set of English 19th century cast iron Neoclassical Revival garden urns were acquired from a Palm Beach estate. Note: Dimensions of square bases are 8.25" width x 8.1...

A good quality late 19th century (Meiji period 1868-1912) Japanese satsuma vase or lamp. Having classical gilded decoration of flowers, birds and scholars. Mounted on a fretted ormol...

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 good quality pair of late 19th century French marble and gilded ormolu urns, each with classical Rans head mounts, supported by three out-swept supports, terminating in hoof feet a...

A stunning pair of antique Italian Neo-classical faux marble wooden urns. Born in Italy around the 18th/early 19th century, sculptural lidded urn architectural element form, hand ca...

A pair of Italian white ceramic urns vases, Neoclassical style, circa late-20th century, Italy. Great as standalone pieces or as vases with flowers,...

Pair 19th century Spelter & Marble Mantel Urns ~ Cassolettes are the epitome of late Belle Epoque neoclassicism, and were meant for decorative purposes only. The classic Greek form h...

19th century Turkish dovetailed copper jug / pitcher / ewer with curved handle, bell / acorn shaped brass finial and hinged lid. Dimensions: 10.5” x...

A fine pair of Italian Neoclassical style marble urns, with bronze mounts including bronze heads of Satyr or Faun the sides of each urn, bronze bud finials, and a bronze acanthus de...