Candelabra In Porcelain And Bronze, Japonisme, XIXth Century

Pair of bronzes of a dancer and a musician, on a Paris porcelain base, model of sculptures after Canova Restored bases, normal wear to the patina and decoration XIXth century Heig...

Pair of decorative bronze plaques with high-relief decoration, with winged putti 19th century patina wear H21cm L55cm

Antique women, two brown patina bronzes of women standing in draped dresses Wooden bases Patina wear (traces of old gilding) 19th century Height 30 and 28cm Diam 9.5cm approximately

Support / Foot for cup or centerpiece, bronze with brown patina, with elephant heads harnessed with a beautiful adornment Usual wear to the patina 19th century H18.5cm 17x17cm Dia...

Very beautiful sideboard t in marquetry with gilded bronze ornamentations: the upper part is decorated with a frieze with floral motifs, the 3 curved and glazed doors are separated b...

Pair of large oval medallions with the profiles of Napoleon III and Eugenie Brown patina, low relief Good general condition, note a deformation at the bottom of the oval of the portrait of...

A unique pair of late 19th century gilt bronze "Japonisme" ten-light candelabra By Maison Marnyhac Floral decorated vase shaped body with handles, sitting on three dolphin...

Lamp in porcelain and gilt bronze, baluster shape adorned, on the belly, with leaves and flowers on a white background. Belly ornamented with two cartouches on both sides. Base and m...

19th century bronze and crystal girandole from France. Ornately cut, tear shaped crystals, each with ten petal floral crystals above, adorn every inch of these candelabras. The frame...

Large urn form French gilt bronze and turquoise porcelain candelabra. Inspired by the designs of Sevres Porcelain. On one side there is a design of flowers and the other of a pastora...

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...

A beautifully cast French Serves bisque porcelain grouping showing two classically draped maidens or Graces standing on a circular bisque base with flutes and inset with decorative flames, on a further bisque base decorated with grapes and palmettes, the whole on a circular gilded bronze base resting on three tupie feet. Between the heads of the maidens there is a decorative gilded shaft which supports the 'new' top electrics as well as three curved gilded candle arms and nozzles. Incised on the top and back of the bisque base is the Sevres stamp with a number 2 between the interlaced L's. There is also the original sculptor's name J. J Feuchere for Jean Jacques Feuchere ( 1805 - 1852) etched on the base under the Graces...