Neoclassical Engraved and Ormolu-Mounted Crystal Cup, circa 1870

A French 19th Century Cornucopia Gilt-Bronze Cartel, by Susse Frères Paris An Ormolu Cartel in the shape of an escutcheon, with a circular white enamel dial, signed Susse Frères/A Paris, Arabic numerals for the hours and for the minutes. It's bordered by a frieze of pearls and surmounted by a falling laurel knot with a drapery in the lower part and flanked by cornucopias adorned with flowers and fruits. Rectangular base decorated with a garland of knotted flowers dying in a tapered, fluted barrel and damping, in the upper part, a flowery Medici vase. Louis XVI Style Circa 1870 Original gilding uncleaned The Susse company, a worldwide reknown foundry, began to cast pieces as soon as the first half of the 19th Century. Awarded medals...

Beautiful inlaid bronze patinated bowl designed by Just Andersen (1884-1943) Inlaid scene of the little mermaid. Designed by Danish bronze artist Just Andersen (1884-1943), circa ...

A French Art Nouveau bronze Vide-Poche Centerpiece Depicting a Naiad resting by a shell on a rock Signed Auguste Moreau on the rock Three patinas Circa 1900 Auguste Moreau (1834-1...

Pair of 19th Century Belle Époque Baccarat Crystal “Crinoline” Plafonniers Crinoline model created in 1895 Composed of a crown in gilded bronze f...

Theodore Deck (1823-1891) A deep green enameled faience miniature pair of vases molded in the Chinese Archaistic Taste. Coves in the shape of elepha...

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 Eu-rope, 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...

"Engraved crystal cup, Gilt Bronze Mounting". Beautiful cut and engraved crystal cup, gilt bronze mount, 19th century, Napoleon III period.

Ruby red, Bohemian crystal cup with a large, petal-shaped rim. It is decorated with enameled rinceau that is highlighted with gilded, flowering branches. The rim, stem and foot have ...

Fine pair of English silvered bronze ormolu in bamboo and leaf form, set with glass / crystal shell form bowls / compotes.  

Two English turn of the century cut crystal bowls from the early 20th century, priced and sold individually. Born in the early years of the 20th century at the beginning of the reign...

This elegant modernist bowl was realized in France by Lalique- one of France's finest luxury glass and jewelry houses since 1888. It features a scalloped perimeter with channeled sid...

A stunning and beautifully made antique French cut crystal and bronze tazza, made circa 1900. Bronze trims are in excellent condition for their age and the elaborate hand cut crystal...