The production of porcelain was established at Limoges in 1771 under the patronage of the Comte d'Artois, brother of Louis XVI.

Limoges was chosen as the ideal centre for porcelain production as it had available all the required ingredients for the production of hard paste porcelain, very similar to Chinese porcelain.

As early as 1768 these ingredients began to be quarried with production underway in 1771. The white porcelain produced was of such high quality that the King had planned to establish a connection with Limoges and Sèvres by sending the white Limoges porcelain, or, blanks, to the Sèvres factory near Paris to be decorated in the enamelling workshops. At this time, Sèvres was the undisputable leading light of porcelain and its decoration throughout Europe with a range of sublime colours that have never been surpassed. These plans, established at Versailles, were never undertaken due to the outbreak of the Terror, the French revolution which saw the end of much of France’s artistic predominance.

Limoges continued to produce porcelain with the establishment of many private factories and in the 19th century was known as the French Staffordshire.

Throughout the 19th and 20th centuries, Limoges developed to become the major centre for the production of porcelain in France, porcelain being fired, then sent on to Paris for decoration at one of the many decorating establishments. These establishments range from small, one person studios to substantial workshops. Fine production of porcelain at Limoges still continues today.

The Antique and Vintage Table Lamp Co continually adds to its range of antique and vintage lighting. Recently acquired is a pair of Limoges table lamps made circa 1870.

A very fine, large pair of 19th century, Paris, porcelain table lamps. The porcelain produced at Limoges and, as was the practice, sent to Paris to be decorated. Paris was the centre for the decoration of porcelain with many small one-person decorators to substantial workshops. The lamps enamelled with a pale pink ground known as angel skin or blush. The lamps with oval shaped reserves in a rich burgundy ground, painted with classical Roman busts en grisaille, a painters’ technique by which an image is painted in shades of grey, giving the image a modelled appearance, creating the illusion of sculpture. The lamp bases and caps of turned, gold plated bronze.