Maison Gagneau, Pair of Lamp in Guilloche Gilt Brass, Late 19th Century

Pair of Arabian style lamps in chiselled and gilt brass bronze with a baluster shape standing on a circular quadripod scalloped base with motifs of scrolls on a guilloche background....

Maison Gagneau, signed. Pair of baluster shape Louis XVI style lamps in guilloche brown brass. Chiselled and gilt bronze mount. High of the mount with...

Pair of baluster shape lamps in Canton porcelain and gilt bronze. Decor of pattern flowers surrounding a medallion which represents a genre scene. Chiseled and gilt bronze mount. Ape...

Pair of baluster shaped lamps in Imari porcelain. Chiselled and gilt bronze mount, standing on a moulded square shape base. Lamp body bottom part decorated with a frieze of blue edgi...

Pair of calabash-shaped lamps in Gien porcelain. Body adorned with floral motifs and figurative decor on a white background in which we can see human figures and objects. Mount and b...

Pair of gilt brass and bronze bottle-shaped lamps, standing on an arabesque engraved base. A bamboo frieze underline the belly and the neck. Work from the second half of the 19th ce...

Pair of Late 19th century gilt metal ewers of large design having bacchanalian relief decoration on marble bases, converted to electric lamps 22"diam x adju...

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 pair of French Gagneau Paris steel and brass table lamps from the early 20th century with waterleaf motifs. Created in France during the first quarter of the 20th century, each of ...

A Beautiful pair of late 19th century gilt bronze-mounted granite lamps Casted bronze satire masks on either side with berries and oak leaves running a...

A stunning and wonderfully detailed pair of French 19th century Louis XVI st. Ormolu lamps, signed Gagneau Paris. Each lamp is raised by a circular pedestal with a beaded edge. Above...

A nice quality pair of late 19th century French gilt bronze mounted Chinese porcelain lamps. Fine bronze mounts separate the six painted panels decorated with chinoiserie figures ...