Jan's & Co Fine French Antiques Inc. Vases and Vessels

A Very Fine French 19th Century Royal Louis XVI Style Three-Piece Sèvres Gilt and Cobalt-Blue Ground Ormolu-Mounted Porcelain Urn and Clock Garniture Set. The finely decorated figura...

A fine and rare 19th-20th century neoclassical revival style silver plated and cut-glass centrepiece in the manner of Christofle. The boat-shaped body with ornately finely chased det...

A fine pair of 19th century Japanese porcelain and French gilt bronze mounted thirteen-light celadon torchiere, floor lamp candelabra. Wired for ...

A Large and Impressive 19th Century Pair of Japanese Meiji Period Export Blue-Celeste, White and Porcelain Vases. The ornately decorated bottle-shaped celadon vases, each with feline decorations amongst tree-branches and parcel-gilt and ruby-red painted flowers. The bottom of one signed in Japanese “Dai...

A Very Fine and Impressive Bohemian 19th Century Vienna-Style Neoclassical Revival Style Pirkenhammer Porcelain Vase - Urn. The ovoid shaped finely painted all around body with allegorical scenes representing 'The Search for Love', with one side depicting a pensive maiden seated on a rock form by the seashore, the opposite side depicting a maiden, also seated by the seashore, being visited by a love-cupid (cherub or angel), flanked by a pair of finely detailed double-headed snake-form 24 carat gilt handles centered with mask terminals, raised on an attached circular gilt, cream and blue Celeste decorated plinth. Stamped with an underglaze black printed crossed hammers mark and further mark "O.P.C.N. / RAD" to the underside. The associated and later domed cobalt-blue, cream and gilt decorated porcelain cover-lid with a cream and gilt bud finial, not original to the vase. Signed "Al Eckardt". Circa: Bohemia, 1890-1894. The porcelain painter A. Louis Eckardt is mentioned by Waltraud Neuwirth, Porzellanmaler-Lexicon (1977), Vol. I, p.251 as working from the Prager Strasse in Dresden in 1894. The Bohemian Pirkenhammer factory was founded in 1803, and in the second half of the 19th century the factory was exporting to Vienna and London. The Prikenhammer marks on these vases show they were made after 1887, and it is therefore likely this vase can be dated between the time of the introduction of the mark for this Bohemian factory, and the time Eckhardt returned to Dresden in 1894. Eckhardt is also recorded as a painter of Berlin plaques. The Pirkenhammer porcelain factory was established in 1802 in Karlovy Vary using...

A Fine French Empire Style Gilt Bronze Trophy Cherub & Maiden "Love & Victory" in the shape of a vessel, raised on a rouge royal marble base, circa 1870-...

A very fine German 19th century porcelain and gilt-bronze mounted Potpourri Urn-Vase with Lid, attributed to Meissen. The ovoid white porcelain urn, decorated on all sides and lid wi...

A fine Pair of 19th century Japanese Imari Porcelain and French Gilt-Bronze Mounted Thirteen-Light Celadon Torchere Candelabra. The bottle-shaped Japonisme vases with a Royal red background, decorated with parcel-gilt and black soaring eagles in the hunt within a forestall scene. Each Vase fitted and surmounted with a French 19th century Louis XV Style 13-Light scrolled candelabrum and all raised on a circular pierced gilt-bronze plinth. circa: 1880. Imari Porcelain (????) is the name for Japanese porcelain wares made in the town of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe extensively from the port of Imari, Saga, between the second half of the 17th century and the first half of the 18th century. The Japanese as well as Europeans called them Imari. In Japanese, these porcelains are also known as Arita-yaki (???). Imari or Arita porcelain has been continously produced up through the present day. Characteristics Though there are many types of Imari, Westerners' conception of Imari in the popular sense is associated only with a type of Imari produced and exported in large quantity in mid-17th century. This type is called Kinrande. Kinrande Imari is colored porcelain with cobalt blue underglaze and red and gold overglaze. The color combination was not seen in China at that time. Traditional Ming dynasty color porcelain used dominantly red and green, probably due to scarcity of gold in China, whereas gold was abundant in Japan in those days. The subject matter of Imari is diverse, ranging from foliage and flowers to people, scenery and abstractions. Some Imari design structures such as kraak style were adopted from China, but most designs were uniquely Japanese owing to the rich Japanese tradition of paintings and costume design. The porcelain has a gritty texture on the bases, where it is not covered by glaze. There is also blue and white Imari. Kakiemon style Imari is another type of Imari, but it tends to be categorized separately in Europe. History "Imari" was simply the trans-shipment port for Arita wares. 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, when kaolin was discovered in 1616 by the immigrant Korean potter, Yi Sam-pyeong (1579–1655). (He may also be known by the name, "Kanage Sambei".) Yi Sam-Pyeong, along with his extended family of 180 persons, left Korea on the offer of a privileged position in Japan. This decision was made after the occurrence of certain Japanese invasions of Korea. After Yi Sam-Pyeong's discovery, his kilns began to produce revised Korean-style blue and white porcelains, known as "Shoki-Imari". In the mid-17th century there were also a lot of Chinese refugees in Northern Kyushu due to the turmoil on Chinese continent, and it is said one of them brought coloring technique to Arita. Thus Shoki-Imari developed into Ko-KutaniImari. Ko-Kutani was produced around 1650 for both export and domestic market. Blue and white porcelain 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 accordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon style Imari, which was produced for about 50 years around 1700. Imari achieved its technical and aesthetic peak in Kakiemon style, and it dominated European market. Blue and white Kakiemon is called Ai-Kakiemon. Kakiemon style transformed into Kinrande in the 18th century. Kinrande used blue underglaze and red and gold overglaze, and later some other colors. Imari began to be exported to Europe because the Chinese kilns at Ching-te-Chen were damaged in the political chaos and the new Qing dynasty government stopped trade in 1656–1684. Exports to Europe were made through the Dutch East India Company, but the designation "Imari Porcelain" in Europe connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China began export to Europe again, since Imari was not able to compete against China due to high labor cost. By that time, however, both Imari and Kakiemon style were already so popular among Europeans, Chinese export porcelain copied both Imari and Kakiemon style, which is called Chinese Imari. At the same time, European kilns, such as Meisen also tried to copy Imari and Kakiemon. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe. Thus in western world today, two kinds of Imari can...

A very fine and rare pair of 19th century Regency style carved mahogany Cellarette urns or wine-drink coolers. The intricately carved ovoid shaped urn, decorated with acanthus leaves, wreaths and lilies, the removable lid top with a carved acorn finial and all raised on an heptagon base. The interior with their original copper metal-liners. Circa: Probably Irish, 1870-1880. Cellarette or cellaret is a small furniture cabinet, available in various sizes, shapes, and designs which is used to store bottles of alcoholic beverage...

A Large German 19th/20th century Figural Porcelain and Gilt-Bronze Mounted Urn with Cover in the Manner of Meissen. The ovoid porcelain hand painted u...

A very fine and palatial French 19th/20th century Christofle & Cie Louis XV style silvered figural centerpiece, fitted with an oval diamond-cut-glass center-dish, attributed to Bacca...

A Monumental and Fine Pair of French 19th, 20th Century Empire Style Red Porphyry-Like Granite and Gilt-Bronze (Ormolu) Mounted Obelisks on Four Gilt-Bronze Lion Paws both resting on...

A very fine pair of 19th century cobalt-blue and parcel-gilt majolica figural vases, with figures of satyrs and gilt decorations of flowers and butterflies. Probably English, circa 1...

A Large and Impressive French Empire Revival Style Gilt-Bronze and Cut-Glass 'Grande Coupe' Figural Urn Centerpiece, in the manner of Baccarat, the mounts in the manner of and after ...

A Pair of Tall Chinese export porcelain figural vases. The ovoid porcelain bodies decorated with colorful flowers, tropical birds, tree...

A fine pair of Louis XVI style chinoiserie gilt-bronze mounted Chinese export famille rose porcelain vases. The ovoid hand painted porcelain body with dual scenes of a sword presenta...

A very fine and large 19th century Chinese export famille verte porcelain and French figural ormolu-mounted Chinoiserie style centerpiece jardinière, in the manner of Edward Holmes Baldock (1777-1845). The circular-ovoid porcelain bowl or cachepot, maybe 18th century Jiaqing period (unverified), decorated with a blue and purple ground background with parcel gilt depicting pagodas, trees, mountains and landscape scenes, flanking scrolled handles issuing from the base and ending with a finely chased ormolu pierced acanthus rim. The two ends with a projected mask of Chinese Imperial lions or foo dogs, surmounted and raised on six finely chased ormolu masks of Bacchus satyrs flanked by seashell-like mounts. The Ormolu, circa Paris, 1880. The Porcelain circa 1800 (Maybe 18th century.) Measures: Height: 15 3/4 inches (40 cm.) Overall width: 21 inches (53.4 cm.) Depth: 17 inches (43.2 cm.) Edward Holmes Baldock (1777-1845) was a prominent London furniture dealer to the Royal Family, father of Edward Holmes Baldock. He was first listed in the London trade directories in 1805. That listing had him operating out of No.7 Hanway Street in London, where he was described as selling "china and glass". An updated listing in 1821 described his business as "an antique furniture and ornamental furniture dealer", and in 1826 as a buyer and seller of "china, cabinets, screens, bronzes etc". Between 1832 and 1837 he sold earthenware and glass products to William IV, and upon the ascendancy of Queen Victoria in 1837, sold china until his death in 1845. Baldock was one of the first antique dealers and is similar to the 18th century marchands-merciers Dominique Daguerre and Simon-Philippe. He was the father of Edward Holmes Baldock (1812-1875), a British Conservative Party politician, and of Mary Frances Baldock, wife of the philatelist W. A. S. Westoby. Famille Verte Famille verte (????, Kangxi wucai...

A fine pair of French 19th century Napoleon III Empire style patinated-bronze and gilt-bronze mounted allegorical covered urn vases lamps in the manner of Pierre-Philippe Thomire (Fr...

A very fine and large 19th century Chinese porcelain and French figural ormolu-mounted Chinoiserie style centerpiece. The circular ovoid bowl, maybe 18th century Jiaqing period (unve...

A fine and rare 19th-20th century neoclassical Revival style silver plated metal and cut-glass centerpiece in the manner of Christofle. The boat-shaped ornately body with finely chas...

A fine pair of French 19th century Rouge-Royal marble and figural gilt bronze-mounted flambeaux urns surmounted with four ormolu figures of dolphins supporting the center urn with th...

A very fine and impressive pair of French 19th century Louis XVI style ormolu-mounted blue-glazed enamel over bronze vases with allegorical masks, rings and wreaths. The porcelain is...

A very fine and palatial French 19th-20th century Christofle & Cie Louis XV style silvered figural centrepiece with a cut-glass scalloped centre-dish, attributed to Baccarat, and fla...

A large pair of continental 19th-20th century porcelain cachepot vases, Planters or Wine Coolers, each decorated with mountain and lakefront scenes with horse drawn carriages and a p...

A fine French 19th-20th century Louis XV style silvered centrepiece by Christofle & Cie. with an ovoid molded cut-glass centre-dish (later) on a pomegranate branch-form foot, the underside stamped: CHRISTOFLE and 1147156, Paris, circa 1900. Charles Christofle...

A very fine French 19th-20th century Louis XV style ormolu-mounted Fleur de Pêcher marble vase or urn with a gadrooned cover surmounted by a pomegranate finial, above a tapering ovoi...

A very fine pair of French, 19th century neoclassical style gilt bronze-mounted marble urns. The ovoid form marble urns flanked by foliate scroll handles with satyr mask terminals, o...

A fine pair of English 19th century turquoise ground and parcel-gilt painted porcelain vases, urns by Minton. The tapered shaped urns raised on a slender stem with turquoise grounds ...

A very fine French 19th-20th century Christofle & Cie Louis XV style silvered figural centerpiece with a circular scalloped cut-glass bowl attributed to Baccarat, the center-dish fla...

A large and impressive French 19th century onyx and ormolu-mounted Orientalist style figural urn, Attributed to Eugène Cornu (French, d. 1875) and G. Viot...

A fine French 19th century Napoleon III Sèvres style porcelain and ormolu-mounted covered urn, the 360 degree painted urn centered with an 18th century romantic scene of two ladies a...

A very fine French 19th Century Napoleon III Sévres Style Porcelain and Ormolu Mounted Covered Urn, the 360 degree painted urn centered with an 18th century scene of a young Princess...

A French late 19th century Majolica figural jardinière (planter) modeled as a young Neapolitan vintner boy balancing a weaved basket over h...

A fine French 19th-20th century Louis XVI style figural gilt bronze-mounted and Vert Maurin marble covered urn. The domed cover centred by a flambeau finial, the ovoid body flanked b...

A very fine and rare German, 19th century figural porcelain liquor dispenser fountain. The two-part allegorical Baroque style fountain depicting a sta...