Theodore Deck Lighting

A fine polished steel late 19th century French bouilotte lamp. Wired for electricity - the bulbs hidden within the shade. Faux candles, and particularly fine quality metalwork. The ...

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...

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...

Pair of table lamps. Very decorative. Circa 1970, France. Very good vintage condition. Mid-Century Modern (MCM) is a design movement in interior, product, graphic design, archite...

Painted Toleware Converted Oil Lamp, France Charming French Tole Lamp on a frosted lucite base. Wonderful patina on this vintage piece. Certainly a statement piece in any home libr...

Pair of porcelain lidded urns, in ginger jar form, decorated in a black and white toile hunt scene, on graduated giltwood base. Stock ID: D9365.

Theodore Deck (1823-1891) A deep green enameled faience miniature pair of vases molded in the Chinese Archaistic Taste. Coves in the shape of elepha...

Beautiful pair of signed Degue French Art Deco table lamps. Art glass shades signed by Degue. Original bases with geometric motif. Re-plating upon request

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...

Pair of Royal Doulton Art Nouveau stoneware vases mounted as lamps. Exterior glazed in a blue grey ground with raised stylized floral decorat...

Pair of fine quality 19th Century Louis XVI style Sevres porcelain ormolu mounted table lamps. Traditional French porcelain. These beautiful h...

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...