A Chinese cloisonne vase mounted as a lamp by Gagneau of Paris,…
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A Chinese cloisonne vase mounted as a lamp by Gagneau of Paris, 19th century, the vase decorated with scrolling lotus against a speckled white ground. Later mounted as a lamp by Gagneau of Paris in ormolu with an oval plaquette reading 'Gagneau, R. D'Enghien, 25'. Bayonette fitting. 66.5 cm total height, 23.5 cm diameter, at widest point. Other Notes: Gagneau house was one of the most famous light factories in Paris in the 19th century, established in 1800 at 25 rue d'Enghien in Paris and later at 115 Lafayette Street. Condition: multiple cloisonne flaws which have been filled with coloured wax at the time of manufacture. Wear to the gilding on the ormolu. Small area of damage to one side with associated cracking of the enamel and small repair with white wax. The vase has been drilled at base. Mouthrim of vase most likely altered in the process of conversion to lamp.

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  • Ormolu - Ormolu was popular with French craftsmen in the 18th and 19th century for ornamental fittings for furniture, clocks and other decorative items. True ormolu is gilt bronze, that is bronze that has been coated with gold using a mercury amalgam. Due to the health risks associated with using mercury, this method of creating ormolu was discontinued in France in the 1830s. A substitute was developed consisting of about 75% copper and 25% zinc, however it was inferior to the bronze version. It was often lacquered to prevent it tarnishing.
  • Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.

    For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.

    Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.

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