Ormolu Decorative Objects

A gorgeous pair of Empire period French antique straight crystal vases. Delicately gilded with gold ormolu wreaths, these timelessly elegant vases are waiting to be filled with fresh...

Stunning Pair of English Patinated Bronzed Metal Library Busts made in Birmingham by Wright and Fletcher Foundry, dated 1878 offered with associated heavy gauge ornately cast Ormolu ...

An exceptionally fine example of an early 19th century pair of English Regency neoclassical single light full lead hand cut candlesticks lustres with crisp diamond cut bulbous columns above circular star cut bases, firmly attributed to John Blades of Five Ludgate Hill, London. First quarter of the 19th century. The waisted formed diamond cut crystal nozzles above a circular petal rimmed tray suspended with spear cut prisms each on single circular facet buttons. Condition: Superb condition for such early pieces, just a few flea bites at prism tips. Nice evidence of age wear at bases underneath, one circular tray has a hairline which is not easy to see, see image. Measures: Height: (entire as shown image one) 10" (25.5cm). Diameter: (base) 4.25" (11cm). Location: Dublin City, Ireland. Affordable fixed price worldwide store to door shipping. John Blades & Co. was one of the great London glass manufacturers of the late eighteenth and early 19th century, first recorded at 5 Ludgate Hill in 1783, and later gaining a Royal Warrant from George III. The company expanded, creating diplomatic gifts for the Eastern market, e.g. the suites of candelabra...

Large French ormolu and cut glass vase French, 20th Century Height 80cm, diameter 36cm This extraordinary glass and ormolu (gilt bronze) vase was crafted in 20th century France....

A Very Fine Large French Louis XVI Bronze & Ormolu Picture Frame Wreath Garland Crown And Coral Colored Silk Inset

Fine sky blue sevres style vases with gilded ormolu mounts around the neck, sides and the base, the pictures in the vases depicts three birds on a tree with leaves around them.  

An August Pair of Napoleon III Silvered and Gilt Bronze Candelabra Rising from sumptuous scrolling ormolu tripod bases incorporating a slate support and exquisite military regalia...

An exceptional Italian 19th century Louis XVI st. Terra Cotta, ormolu and Sarrancolin marble statue attributed to Clodion. The statue is raised by it original elegant circular Sarran...

A gorgeous glass top trinket box made of ormolu. The hinged top featuring a view of the church of Maria Zell place of pilgrimage in Austria. No restoration has been carried out on th...

A pair of antique French candlesticks, made of gilded bronze. At the center a bowl made of red "Griotte" marble. Under the marble bowl foliage around the stem. Made in France, at the...

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 stunning French 19th century Neo-Classical st. oxblood red glass and ormolu lidded urn. The urn is raised by a circular base with handsome ormolu paw feet amidst scrolled and flute...

Decorate a table or a buffet with this elegant and colorful antique vase. Crafted in China circa 1880, the vessel sits on a four-leg wooden base with scrolled feet; it features an en...

An Ormolu centrepiece in the Rococo Manner Constructed in gilt bronze of refined casting and finished with burnished surfacing, rising from a shaped and moulded plinth, with four ...

French empire pair of candle holders lamps. Exceptional pair of antique candleholders, created in Paris France during the imperial period of Napoleon III, circa 1870. They was designed with French empire neoclassical patterns, masterfully crafted with parts made up in gilt bronze ormolu and patinated bronze. Mounted in fluted columns pedestals carved from gray dotted Granite, with polished finish. Embellished with garlands and putties mounted in a four square and stepped bases. Weight: Combined of 12 Pounds (5.45 Kilos). Measurements: 15 Height by 4.50 Length by 5.15 Width Inches, (38 x 11.43 x 13.08 Cm). French Empire Louis Napoleon Bonaparte (1808-1873) was Emperor of France from 1852 to 1870 under the name of Napoleon III. In a way, the artistic codes of the Napoleon III style, also called Second Empire style, were presented at the Exhibition of 1844, during the reign of Louis-Philippe d'Orléans. The second Empire style, also known as the Napoleon III style, is a highly eclectic style of architecture and decorative arts, which uses elements of many different historical styles, and also made innovative use of modern materials, such as iron frameworks and glass skylights. It flourished during the reign of Emperor Napoleon III in France (1852–1870) and had an important influence on architecture and decoration in the rest of Europe and North America. Major examples of the style include the Opéra Garnier (1862–1871) in Paris by Charles Garnier, the Bibliothèque nationale de France, the Church of Saint Augustine (1860–1871), and the Philadelphia City Hall (1871–1901). The architectural style was closely connected with Haussmann's renovation of Paris carried out during the Second Empire; the new buildings, such as the Opéra, were intended as the focal points of the new boulevards. Comfort was the first priority of Second Empire furniture...

This fantastic clock garniture is a truly exceptional piece of design, which takes after the elegant beauty of the work of the Sevres porcelain Manufactory. Comprising a set of three...

Antique 19th Century Samson vase and cover decorated with polychrome enamel, depicting scenes of various flora, fauna and stylised oriental decoration, lid mounted with ormolu, scrolling acanthus finial...

Antique 19th Century Chinese famille verte polichrome painted on crackle glaze porcelain vase, later mounted in very decorative French gilt-bronze mounts. Hand painted with Chinese c...

Antique late-19th century French Imari style porcelain vase mounted on ormolu. The cylindrical body fitted with a ormolu cast floral and scroll rim and raised on a pierced voluted or...

A good quality French 19th century Rococo gilded ormolu mantel clock. The eight day movement, chimes on the hour and half hour.

Antique 19th Century French pair of ormolu mounted on rouge griotte, nine light candelabra. Formerly with central vases, the scrolled candlearms ...

Antique late-18th century French Louis XVI ormolu mounted on porcelain two-handled potpourri vases with covers. Each lid pierced and terminating with pinecone finial, body mounted with upright handles terminating in lion marks, on a laurel cast foot...

An elegant pair of French 19th century Louis XVI st. Vert de Patricia marble and ormolu cassolettes. Each cassolette is raised by a marble triangular base with concave sides and cut ...

Antique 19th century French pair of bronze candelabra each formed as a standing female figure holding a gilt-bronze 7 light candelabrum. The cast bronze figures stood on black marble...

A beautiful and high quality French 19th century Louis XVI st. Belle Époque period ormolu, patinated bronze and Rouge Griotte marble bust of a young lady. The bust is raised by a squ...

Antique late-19th century French pair of Louis XV style ormolu bronze four-light candelabra, beautifully modelled in the Rococo style, each foliate-sheathed spirally fluted baluster ...

A fine pair of circa 1825 French Restauration period patinated and ormolu bronze candlesticks of good size in 'Gothic' style; the unusual design typifying the first 'Gothic' revival of the early 19th century merging classical forms with medieval motifs.

A fine pair of French 19th century Japonisme Louis XV style Gilt-Bronze and Marble Figural Chenets (Andirons) by BOUHON FRES, each depicting a flaming dragon atop an "L" shaped base surmounted with an allegorical gilt-bronze and marble urns with floral garlands and paw-feet, the base with a draped ormolu design and raised on tapered feet. Stamped: "B&H". Circa: Paris, 1890-1900. The bronziers Bouhon et Cie. Bouhon Frers. specialized in bronze-decorated fire-places and fire-fittings. These large and fine chenets are supreme examples of their output. The firm participated in the 1878 and 1900 Paris Expositions Universelles. Japonisme[a] is a French term that refers to the popularity and influence of Japanese art and design among a number of Western European artists in the nineteenth century following the forced reopening of foreign trade with Japan in 1858. Japonisme was first described by French art critic and collector Philippe Burty in 1872.[3] While the effects of the trend were likely most pronounced in the visual arts, they extended to architecture, landscaping and gardening, and clothing.[4] Even the performing arts were affected; Gilbert & Sullivan's The Mikado is perhaps the best example. From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.These prints were created for the commercial market in Japan. Although a percentage of prints were brought to the West through Dutch trade merchants, it was not until the 1860s that ukiyo-e prints gained popularity in Europe. Western artists were intrigued by the original use of color and composition. Ukiyo-e prints featured dramatic foreshortening and asymmetrical compositions. Japanese decorative arts, including ceramics, enamels, metalwork, and lacquerware, were as influential in the West as the graphic arts. During the Meiji era (1868–1912), Japanese pottery was exported around the world. From a long history of making weapons for samurai, Japanese metalworkers had achieved an expressive range of colours by combining and finishing metal alloys. Japanese cloissoné...

A beautifully made pair of single flower vases in blown glass and ormolu by baccarat C1890s

Antique Mid-19th century French Ormolu mounted on white marble urns on green marble bases. CONDITION In Great Condition - No Damage. Size Height: 36cm Width: 15.5cm Depth: ...

This is a superb antique gilt bronze and agate mounted casket by Asprey, Circa 1870 in date. The casket features a rectangular outline with domed lid which opens to reveal two clear glass scent bottles. It is stamped Charles Asprey, 166 Bond Street, Provenance: Lady Elizabeth Prinfle Lady in waiting to Queen Victoria, lived at Bonchurch, Isle of Wight It is a lovely piece which will make an unforgettable gift. Condition: In excellent condition having been beautifully cleaned in our workshops, please see photos for confirmation. Dimensions in cm: height 10.5 x width 12.5 x depth 7.5 Dimensions in inches: height 4 inches x width 5 inches x depth 3 inches Asprey was established in England in 1781 and founded as a silk printing business by William Asprey, it soon became a luxury emporium. In 1841, William Asprey's elder son Charles went into partnership with a stationer located on London's Bond Street. In 1847 the family broke with this partner and moved into 167 New Bond Street, the premises Asprey occupies today. From its central London location Asprey advertised 'articles of exclusive design and high quality, whether for personal adornment or personal accompaniment and to endow with richness and beauty the table and homes of people of refinement and discernment.' An early speciality was dressing cases. Asprey crafted traditional cases and designs, mostly in leather, suitable for the new style of travel ushered in by railways. The main competitors at the time were H.J. Cave & Sons. Asprey was recognised for its expertise when it won a gold medal for its dressing cases at the International Exhibition of 1862 but lost out to its rivals, H.J. Cave & Sons in 1867. The company consolidated its position through acquisitions. In 1859 Asprey absorbed Edwards, an award winning maker of dressing cases and holder of a Royal Warrant. The company also purchased the Alfred Club at 22 Albemarle Street, which backed on to the New Bond Street store and meant that Asprey now had entrances on two of London's most fashionable streets. In 1862, Asprey was granted a Royal Warrant by Queen Victoria. The Prince of Wales, later to be crowned Edward VII, granted another Royal Warrant. In 1953, for the coronation of Elizabeth II, Asprey paid homage with the Asprey Coronation Year Gold Collection, which featured a dessert, coffee and liqueur service in 18-carat gold and weighed almost 27 pounds. In April 1953, it went on show in the New Bond Street store and subsequently toured the United States. As the business grew, the company acquired manufacturing facilities and hired silversmiths, goldsmiths, jewellers and watchmakers including Ernest Betjeman, the father of the distinguished poet John Betjeman, one of the most highly regarded craftsman and designers of his day. In the twenties, commissions poured in from around the world, from American millionaire J. Pierpont Morgan to potentates such as the Maharaja of Patiala, who commissioned a huge teak travelling trunk for each of his wives in which each trunk was fitted with solid silver washing and bathing utensils with waterspouts of ornate tiger head and lined with blue velvet. Asprey cigarette cases became collectable amongst young sophisticates who delighted in its other modern products, including travel clocks, safety razors and automatic pencil sharpeners. Asprey Jewellery Asprey has a tradition of producing jewellery inspired by the blooms found in English gardens. Over the decades jewelled interpretations of flowers have evolved to include the Crown Daisy, Rose, Calla Lily and Lily Pad collections. The master diamond cutter Gabi Tolkowsky created the Asprey cut. The cushion cut gave Tolkowsky options for incorporating the Asprey "A" inscription around the edges of the stone. The result was the 61-facet Asprey cut, maximising light refraction to brilliant effect. The shape of the Asprey cut means that the cutting process can be done only by hand, unlike many other stones that involve machine cutting. Asprey Leather - the women's collection of clutches and handbags, such as those featured in the 1781 collection, come from crocodile, python and ostrich. The men's collection includes wallets, cardholders and travel watch cases crafted from lido, calf or alligator. Other items include the briefcases and backgammon boards. Asprey Silver - offers classic and whimsical contemporary silver pieces – such as the saltcellar fashioned to look like a cement mixer...

Antique pair of English Regency candlesticks in form of eagle with viper in ormolu and patinated bronze. The very well modelled Eagle with...

19th century pair of Regency bronze three light candlesticks, in the Classical style, patinated with gilt highlights, and featuring Greek cut key banding. The reeded naturalistic pil...

An exceptionally well hand painted French sevres style soft paste porcelain circular centerpiece, deep dish or cabinet plate of large proportions, last half of the nineteenth century...

Imposing finely chiseled gilt bronze cartel decorated with mistletoe garland, rams heads and pine cones, firepot on the pediment. Signed Raingo Frères in Paris on the enamelled di...

An exceptional and most decorative French 19th century Louis XV st. Meissen porcelain and ormolu clock signed Meissen and Crosnier. The clock is raised by a beautiful scrolled ground...

A Famille Rose Painted Enamel inkwell set Qianlong Period (1736-1795) by l’Escalier de Cristal It consists of a fretworked tray with raised edges in blackened wood surrounded by a fine gilded bronze ring, on which rests two Famille Rose Qianlong Period (1736-1795) hexagonal inkwells with pierced tops, one with original glass container, decorated with polychrome stylised flower heads and foliate scrollwork. This inkwell is characteristic of the productions of the Maison de l'Escalier de Cristal, it shows a hybrid realization, using ancient Asian elements, used as a container for feathers and ink. Stamped «Escalier de Cristal Paris» Circa 1880 L’Escalier de Cristal, Parisian firm created about 1800 by Mme veuve Desarnaud, famous under the French « Restoration » for its decorative objects combining crystal and bronze. She was awarded a gold medal at the 1819 Paris Exposition des Produits de l’Industrie for an outstanding gilt-bronze mounted crystal dressing table. Located in Paris, at the Palais-Royal, Galerie de Valois, L’Escalier de Cristal was bought out around 1830 by Boin, and then by Lahoche in 1840. The company owed its rise to a position amongst the most im-portant Paris decorative wares shops to Lahoche, who expanded considerably the business and entered later in partnership with his son-in-law to set up in 1852 Lahoche et Pannier...

A beautiful and most elegant French 19th century Louis XVI st. Baccarat crystal and ormolu centerpiece. The centerpiece is raised by a circular base with lovely stepped mottled ormol...

A beautiful and high quality pair of French 19th century Louis XVI st. porcelain and ormolu lidded urns. Each urn is raised by a square ormolu base with elegant Greek key designs at ...

A Pair of bronze Vases Depicting the 'Sacrifice to Venus' Designed by Clodion Cast by Barbedienne Constructed from cast and hand-chased gilded bronze and supported on Griotte...

A striking pair of French 19th century Renaissance st. ormolu and etched glass vases. Each vase is raised by a circular base with lovely scrolled foliate designs on a hammered backgr...

A superb and substantial ormolu clock from a design by the 18th century bronze founder Robert Osmond and made by the famous Compagnie des Bronze of Bruss...

Pair of large Sèvres style gilt porcelain mounted vases. French, Late 19th century. Height 97cm, diameter 26cm. These beautiful vases are a p...

A most elegant pair of French 19th century Louis XVI st. ormolu and white Carrara marble candelabras. Each three arm candelabra is raised by a triangular white Carrara marble base wi...

A finely bronze fire-gilded ormolu mantel clock set with matching candelabras. Rich ornate with typical Louis XVI mounts, floral garlands, scrolls, ribbons and bow. The case is made ...

French ormolu Lyre clock standing on a stepped rectangular base with acanthus leaf decoration and floral swags resting on four turned and chased toupe feet. Chased garland gilt bezel surrounding a fine enamel dial with Roman numerals and a gilded starburst...

A good quality pair of 19th Century gilded ormolu and white marble Louis XVI style two branch candelabra, each having floral decoration, supported by cherubs, raised on circular pede...

Dimensions: H: 11in W: 9.5in D: 9.5in This beautiful pair of 19th century French Bronze Candelabras are made from the highest quality Dorè or Ormolu Bronze. The craftsmanship of the...

A striking true pair of French 19th century Renaissance st. ormolu and patinated bronze ewers. Each ewer is raised by a superb circular reeded base with a fine spiral fluted socle sh...

A fine and Large Pair of 19th century Orientalist Motif French Ormolu and Champlevé Enamel Vases with Foo Lion Handles of Magnificent quality and condition, Attributed to F. Barbedie...

A fine French Louis XVI Style gilt and patinated bronze and white marble figural mantel clock with a figure of a drummer cherub. The brown patina cupid, seated on gilt-bronze clouds ...

A pair of two-handled vases / lamps in classic French Napoleon III style bronze and gilt ormolu of very good quality, each with a foliated plant decoration in bronze, the ormolu orna...

This is a beautiful antique ormolu and agate mounted easel photograph frame, circa 1880 in date. The arched backplate features a wavy edge border having a pair of spring loaded a...

A very good quality, 19th century French gilded ormolu and champleve enamel clock garniture. The clock has a cherub on either side, an urn with swags to the top, 'C' scroll and folia...

A French Sevres style cobalt blue lyre clock with finely cast ormolu sunburst and floral swagged mounts with jewelled bezel, pretty floral swa...

A magnificent, large, and original, French three piece mantel set from the late 19th century. The Napoleon III Second Empire period, Neoclassical style antique clock having an urn form finial with sculptural gilded bronze mounts, over architectural case made of the most beautiful variegated specimen marble, with various shades of salmon pink and white, black and silver veining, pierced flower blossom ormolu mounted columns flank the hand enameled fancy dial with Provincial figural scene, signed Guinchard & Martin, Castres, glass door with beaded gilt brass bezel, housing the high-quality eight day time and strike movement stamped AD Mougin...

A superb example of an early English tea poy of compact proportions. First quarter of the 19th century, Regency period. The rectangular hinged lockable lid with corner canted angles, enclosing four lidded compartments, above an exquisitely hand carved foliate and leaf capped column with shaped platform base ending on finely carved claw feet. Condition: Superb condition with no losses to inlays, interior foil linings are quite worn, very nice untouched surface patination. Lock and key are present and working, original metal castors are also present. Measures: Height: (overall as shown) 30” (76cm), width: 19” (48cm), depth: 13.75” (35cm). Location: Dublin City, Ireland. Affordable fixed charge Worldwide Store to door shipping offered...

The acclaimed French bronze foundry, Delafontaine, created this remarkable mantel clock. At the time this piece was crafted, in c.1860, the company was directed by Auguste-Maximilien Delafontaine (1813-1892). The firm was famous for its high-quality artistic bronzes, which can today be viewed in major art collections, such as the Louvre in Paris. Shaped like an upside down ‘T’, this gilt bronze...