French Lamps with Vases from Japan and China
In the last 2-3 decades of the 19th century, France experienced a great enthusiasm for Far Eastern goods. In particular, handicraft products from Japan were held in high esteem. As a result, many Japanese products were imported and successfully marketed. The most sought-after items were those for daily use and also for embellishing the domestic interior. As a result, many vases, tea sets, wall plates, etc., made of Satsuma ceramics and Imari porcelain were imported from Japan. See the subchapter Ceramics from Japan and China in Info Boxes.
It is important to know that the name "Satsuma" does not stand for a specific manufactory. There were dozens of ceramic manufacturers in Japan, especially as the demand for these Japanese products grew, some of which were located outside the Satsuma district. They all produced pleasing, sometimes brightly painted earthenware vases for the European market. All these products were traded as "Satsuma goods". Depending on the manufactory, both the motifs and the typical painting style were different. This can be seen very well in the lamps in the next photo.
Another, no less important source of beautiful and sought-after handicraft goods was China, in addition to Japan. From China came hand-painted porcelains and also art objects with Cloisonné painting.
The variety of shapes and the exotic beauty of these products have led to many Japanese and Chinese flower vases being converted into Moderator and kerosene/paraffin lamps by resourceful lamp makers. For this purpose, the necessary metal fittings such as base, fuel tank, etc. had to be made in the right dimensions and mounted on the vase with a threaded rod. In order to pass the threaded rod through, the base of the vase had to be drilled afterwards.
As the demand for Chinese and Japanese vases for lamp production grew, the vases were already made in producer countries with a hole in the base. However, the quality of the painting deteriorated quite a bit over time.
The production of lamps with Chinese and Japanese vases seems to have been primarily indigenous to France. The other European countries with large lamp production hardly contributed at all. At least there were some lamps in Great Britain whose vases were painted in a very attractive Imari style. However, they were independent British products.
French lamps with ceramic vases from Satsuma ware
From left: L.093 – L.285 – L.298 / L.031 – L.328 – L.284
L.093 with its square vase (probably quite rare) shows the motley "brocade painting" typical of later phases with now stylistically simplified human figures. The tulip shade here is special: it consists of two layers of glass with air-filled caverns in between.
The lamp L.285 is an example of the mass production of Satsuma vases for kerosene/paraffin lamps, because the vase is already produced with the matching hole. The painting is simpler.
L.298 is somewhat unusual, for here the Satsuma-typical samurai warriors are placed on a monotonous yellow background. The Satsuma-typical brocade style is only visible at the neck of the vase. A beautiful St. Louis ball shade is in place here.
A completely different type of painting with flowers and cranes can be seen on lamp L.031. There was probably a Satsuma manufactory that had great success with this choice of motif, because I see vases and lamps with this kind of painting more often on eBay. The former Moderator lamp L.090 (see previous subchapter) probably also comes from this manufactory.
L.328 has a rare hexagonal vase with very fine painting. This lamp has the most finely painted and, with its hexagonal shape, also rather elaborately constructed Satsuma vase in my collection. The later brocade painting had not yet developed; the vase is richly decorated in gold. A Baccarat ball shade with fine ornamentation adorns the lamp.
L.284 with its intense colours is quite unusual and cannot be compared with the other Satsuma lamps. Nevertheless, it is a Satsuma product. The painted tulip shade here is from Cristallerie de Pantin.
Other French lamps with ceramic or porcelain vases from the Far East are shown in the next photo. Two Chinese Cloisonné lamps close this series.
Further French lamps with vases from Japan and China
From left: L.055 – L.354 – L.283 / L.291 – L.292 – L.361 – L.180
The first three lamps are made of Japanese Imari porcelain. L.055 and L.283 are simpler lamps with Imari vases. The ball shade on L.283 has the typical Vianne pattern, but is made of thick glass cut flat at the top and bottom.
L.354 is a mighty, imposing lamp with a large Imari vase. The base alone is already very stately in design. The burner and the chimney of the lamp are by Stobwasser. The wick knob is fitted with the rare Rincklake drip catcher. A slightly egg-shaped British ball shade completes the lamp.
The twin pair L.291 and L.292 has Chinese porcelain vases painted in a rather simple Canton style. They also belong to the mass production from the Far East with the hole for the metal mounts already prepared. I used good Reform Kosmos burners from Wild & Wessel and old, finely hand-cut tulips for both.
L.361 is a Cloisonné lamp that captivates with its intense colours. The tulip shade has the beautiful motif of an Art Nouveau vase from the glass manufactory Harrachsche Glasfabrik. Most likely it is also from the same manufacturer.
The last lamp in the photo, L.180, is a smaller, slender Cloisonné lamp, again with an Art Nouveau tulip shade.