Pair French Patinated Bronze and Ormolu Vases Mounted Table Lamps

A pair of late 19th century French vases or urns, in the style of C.M.Clodion, in patinated bronze with a Belgian black marble base. The vase...

A pair of impressive and large vases or urns from the Art Deco period, made of white marble and patinated bronze, the cups in the shape of an amphora or Greco-Roman vessel, are suppo...

A table lamp from the 70s, in the style of the Maison Charles, in chrome and nickel-plated metal and the central ball in marbled stone, the wiring is new in black silk cord and the l...

Desk table lamp, from the 1940s, made of Bakelite, lacquered metal and brass. The ignition is done by rotating the brass circle at the base, it has three bulbs and the shade is curr...

Pair of Swedish modern qpaque white and red glass table lamps, The lamps combine the color white and red in the central column and the lampshades a...

A pair of table lamps in carved alabaster, garland and gullonado decoration. The lamp shades in White plasticized linen and gold interior. The measurements are with the lampshade i...

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 ...

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 elegant gilded bronze and patinated bronze candelabra in the form of caryatids on black marble plinths, which have been converted into lamps with custom silk pleated shades.

Pair of French vases with ormolu mounts on granite, now mounted as lamps.

Pair of bronze-mounted French porcelain covered vases mounted as lamps, circa 1885. Signed Eugene Sieffert. The elephant handles are bronze.

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...