Pair of Large Paris Porcelain Vases with Floral Panels Mounted as Lamps

A Chinese bronze vase featured applied decoration of four dragons chasing the flaming pearl. Now mounted as a lamp. Height of vase: 16½ in (42 cm) including base, excluding electr...

A very fine pair of 19th century Chinese ‘powder blue’ ground famille verte vases. Famille verte porcelain is known for its elaborate figural designs and sophisticated decoration. Th...

A fine pair of small bright green craquellure straight necked vases, now mounted as a lamps. Ideal for beside tables, or those smaller spaces. Measures: Height of vases 14 in (36 ...

A fine pair of Chinese blue and white baluster vases, decorated in the Kangxi style in tones of blue on a white background, with stylised Dogs of Fo, now mounted as lamps with hand g...

A fine pair of Chinese blue and white baluster vases, decorated in the Kangxi taste in tones of blue on a white background, with exotic fish in an aquatic landscape, now mounted as l...

A superb pair of Mid-20th Century French porcelain vases, with a wonderful plum purple glaze, now mounted as lamps with hand gilded turned bases. Heigh...

A fine quality pair of French Ormolu-Mounted Chinese Porcelain Vases mounted as lamps in mottled blue-ground glaze. Resting on square ormolu base with garland band and ormolu banded ...

English porcelain vase mounted as lamp, derby, circa 1826. Attributed to artist Thomas Steele.

Pair of antique porcelain vase-form lamps with floral decoration Continental, 19th Century Lamps: height 57cm, width 18cm, depth 16cm Shades: height 22cm, diameter 39cm With twin handles and painted floral decoration, these fine porcelain lamps...

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 Very Fine Pair of Chinese Porcelain Vases on Teak Stands. Now mounted as Lamps. Circa, 1910. 2 lights each. Height of vases 17 3/4 inches. Overall Height 35 CW5139.

A Pair of Hand Painted neoclassical French Porcelain lamps. The porcelain urns with gilt cartouches depicting Greek Muse's Evterpe, Polymnie, Clio and Uran...