Ormolu Table Lamps

A pair of gilt bronze horses each in the form of a galloping horse, raised on a faux marble rectangular plinth with rounded corners and mounted as l...

An elegant and high quality pair of French 19th century cobalt blue Sèvres porcelain and ormolu mounted lamps. Each lamp is raised by a fine square ormolu base with concave corners a...

A fine pair of French 19th-20th century Louis XV style gilt bronze and Faience porcelain three-light candelabra table lamps. The ovoid porcelain urn hand decorated in floral burgundy...

Each mounted as a lamp, the flaring top above a stepped square base, with a decor of antique scenes and symbols. Electrified. Measures: Height of urns only, 15in.; height overall, 29...

Each urn cast with frieze of classical figures, raised on a bronze-mounted rouge griotte square marble base. The lampshades are silk and custom made by Blanche Field...

Pair of Chinese celadon glazed ceramic porcelain bottle vases mounted as lamps, the vessels with incised scrolling floral decoration and ruyi borders, mounted with gilt brass on hard...

Mirror black porcelain vase mounted with fine cast gilt bronze base. Measures: To the top of porcelain: 22" H. Base: 10.5" W x 10.5" D. To the top of porcelain: 21.5"/H (Lampshade do...

SATURDAY SALE (1/18) Pair of celadon crystalline enamel vases as lamps with 19th century French ormolu ribbon and banding. Bases and caps are brass the color of bronze. Shades are...

Théodore DECK (1823-1891) A polychromatic enamelled earthenware soliflore and quadrangular shape vase with Sino-Japanese inspiration design of flowers and geometrical friezes all around. Impressed uppercase mark "TH.DECK" under the base. Circa 1875 Born in Guebwiller in Alsace, Théodore Deck trained as a ceramist in his home region, then in Germany. He went into partnership with his brother, Xavier Deck, to create his own factory in Paris in 1858. At the Exhibition of Industrial Arts in 1864, he presented pieces covered with transparent enamels that were not cracked, and then made his first attempts at reliefs under transparent enamels. He developed a bright turquoise color, famously renowned as "Bleu Deck". It is this nuance that we find on the salamander represented on this vase. In 1887 he published a treatise entitled "La Faïence", in which he explained some of his discoveries. That same year, he became director of the Manufacture de Sèvres. Theodore Deck (1823-1891) is a French ceramist born in Guebwiller in Alsace. He is passionate about chemistry and the physical sciences. In 1841, he joined the master stove maker Hügelin father as an apprentice in Strasbourg. In two years, he learned of the methods inherited from the 16th century, such as the encrustation of colored pastes in the style of Saint-Porchaire. This apprenticeship did not prevent him from spending his free time draw-ing or modeling clay in the studio of sculptor André Friederich. Escaping military service, he made a tour of Germany as is the tradition with fellow Alsatian stove-makers. The quality of his work allows him to obtain important orders in Austria for the castles of the provinces and the imperial palaces, in particular for the palace of Schönbrunn. He continues his journey in Hungary to Pest, to Prague, then, going north through Dresden, Leipzig, Berlin and Hamburg. On the strength of his apprenticeship, he arrived in Paris in 1847. Recommended by Hügelin, he went to the stove factory of the Bavarian potter Vogt, located rue de la Roquette. The Revolution of 1848 interrupts production and Deck decides to return to his hometown. His family then advised him to set up a small terracotta workshop: he made a few busts, statuettes, vases, lamps and copies of famous antiques there. Aware that this situation would not allow him to provide for himself properly, he returned to Paris in 1851 where he was employed by the widow Dumas, daughter of the earthenware maker Vogt for whom he had worked. Hired as a foreman, he supplied the drawings and models to the workers, while working the land himself. The following year, he made the decision to settle not far from his former employer at 20, rue de la Fontaine-au-Roi, probably using his ovens. His brother, Xavier Deck, joins him. It was officially in 1858 that the Deck brothers created their business and settled in Paris at 46, boulevard Saint-Jacques. Initially, the brothers only carry out coatings for stoves. But the business is going so well that barely a year after their installation, they want to diversify their production and engage in ceramics for the cladding of buildings as well as in shaped parts. Deck is interested in politics. In 1870, he opted for French nationality and was elect-ed deputy mayor in the 15th arrondissement of Paris. In 1861, at the Salon des arts et industries de Paris, which was held on the Champs-Élysées, Théodore Deck exhibited his works for the first time: these were pieces with an inlay decoration called “Henri II” and others. pieces covered with turquoise blue enamel or decoration in the style of Iznik ceramics.If he wins a silver medal, reviews are mixed, however. The following year, on the occasion of the Universal Exhibition of 1862 in London, he won over English customers. He surprised by presenting, like the previous year, his Alhambra Vase...

17th Century Dutch Delft Octagonal Faience Vase mounted in brass and decorated with a chinoiserie décor of fighting warriors and exotic landscape. The dimensions indicated herein are those of the vase with the fittings and lampshade. The mounted vase only is approximately 10in. high and 7in. diameter. The arrival in Western Europe of the first shiploads of Chinese porcelain, lacquerware, ivory and silk in the 17th century stimulated interest in China, or Cathay, as it was then called. Europeans soon began copying the Chinese artworks and decorative objects. These decorative arts inspired by China, which enjoyed their heyday in the late 17th, 18th and early 19th centuries, are known as chinoiserie. Soon after the introduction of expensive Chinese...

Celadon porcelain vase shaped base with faux bamboo and Chinese inspired designs. Mounted with gilt bronze bases and oil lamp fitting. Now electrified featuring new wiring with Ediso...

A pair of Chinese Longquan ware vases in light-green celadon glaze, of the 12th–14th century Song or Yuan dynasty style. Fitted as lamps on gilt turned circular bases. Vases China, early to mid-20th century. The vases have the traditional pear-shaped bodies raised on slightly spreading feet, the waisted and flaring necks applied with two C-shaped dragon handles suspending large fixed rings, covered overall with a bluish-green glaze thinning to white at the edges and around the moulded peony scroll decoration. Why we like them We love the exquisite, individually hand-moulded decoration and the gentle colour of the glaze, in perfect harmony with the the flowing shape of the vases. History and Design Made in porcelain with raised moulded decoration under celadon glaze, and traditionally referred to as the Longquan ware, the design of these vases dates back to the 10th–14th century. Longquan celadon refers to ceramics produced in large kilns in Longquan, Jincun and other sites in Zhejiang Province on the east China seaboard as well as ceramics made elsewhere using the same techniques. The making of Longquan celadon dates back to the Northern Song...