Kerosene/Paraffin Lamps from Former Moderator Lamps
France was undoubtedly the leading nation in the first half of the 19th century in Europe. The French Revolution towards the end of the 18th century and the conquests of the Napoleonic era that followed shortly afterwards left their political and military mark on Europe at that time. France was also an absolute leader in the development of lamps. After the epoch-making invention of Ami Argand, many technical innovations in lamp technology were realised in France. These undoubtedly include the Sinumbra, clockwork and Moderator lamps; all of them oil lamps with sophisticated technology and also of very high artistic quality.
The Moderator lamps in particular were so widespread and so well established as indispensable household items for the wealthy bourgeoisie that they were even manufactured and marketed until the end of the 19th century, although kerosene/paraffin lamps gained a dominant position in the market from around 1865.
Many former Moderator lamps were later converted to kerosene/paraffin lamps, as people still wanted to keep these artistically sophisticated lamps but wanted to operate them with a better, cheaper, more modern burner. One way of doing this was to remove the internal spring mechanism and oil burner, use the oil reservoir as a kerosene/paraffin tank and put a kerosene/paraffin burner on top. This version, however, required a squat lamp design so that the path of the kerosene/paraffin to the burning wick was not too long.
The second version, on the other hand, could be realised with the baluster-shaped, long-necked Moderator lamps. Here, a suitable glass font was installed on the narrow, long neck of the lamp together with a kerosene/paraffin burner. For this, one only had to remove the oil burner; the rest of the Moderator technique (and partly also all the old oil) could remain inside.
A third variation was to simply replace the oil burner with an electric socket, thus turning the time-honoured Moderator lamp into an electric lamp. Of course, this kind of transformation probably only took place in the first half of the 20th century. I then converted some of the lamps "upgraded" in this way to electric lamps into kerosene/paraffin lamps myself by replacing the electric socket with a glass font. One would say, these lamps are experiencing their third "life".
The kerosene/paraffin lamps converted from former Moderator oil lamps are, of course, original French lamps. Therefore, I would like to start the presentation of my French lamps with these lamps. Those lamps that enrich my collection I have illustrated in the next two collective photos.
Former Moderator lamps, converted to kerosene/paraffin lamps
From left: L.128 – L.140 – L.165 – L.237 / L.234 (Valentine Saint-Gaudens) – L.161 – L.078 – L.228
The first four lamps in the photo above have the typical, double-cylindrical, squat form of Moderator lamps made of very sculptured pressed brass sheet. On L.128 four allegorical figures (symbolising arts and crafts, Cupid, literature and music) are depicted, separated from each other by frame decorations matching the content. The tulip shade is from St. Louis.
The lamp L.140 shows beetles on sculptured large leaves. This lamp is fitted with my only 14’’’ Diamant burner by Schwintzer & Gräff. On the lamp L.165 are allegorical representations of four continents (Europe, Asia, Africa and America) in the form of women, whose clothing and surroundings reflect the prevailing opinions about these continents at the time. A beautiful, finely etched St. Louis ball shade in the shape of a melon decorates the lamp.
L.237 was not originally a Moderator lamp, but a spring-work pump lamp. Of course, at some point the entire filigree springwork technique was removed to make it a kerosene/paraffin lamp. When I discovered it, it was finally electrified and "upgraded" with an ugly 1970's fabric shade. From the outside, this lamp is no different from the Moderator lamps. Here a St. Louis shade for gas lamps is used.
L.234 is a very beautiful and excellently preserved example of porcelain from the Valentine porcelain manufactory in Saint-Gaudens near the Pyrenees. This lamp still has its stand, which was very much in demand among the distinguished clientele of the time. Another beautiful tulip shade from St. Louis completes the lamp.
L.161 could be a unique specimen. For this lamp, an old Chinese vase with the typical "Famille rose" colour scheme was unceremoniously sawn off in the middle to make a Moderator lamp. The somewhat uneven, octagonal shape of the vase forced the lamp makers to produce brass mounts that were equally uneven, but in this case exactly fitting. The ball shade is by Vianne.
L.078 is fitted with a strictly cylindrical porcelain vase from China, the bottom of which had been sawn off to introduce the Moderator technique. This and other similarly painted vases are called Canton ware because they were offered in this Chinese port city for export to Europe.
The large, intricately painted lamp L.228 was electrified when I received it. I converted it into a kerosene/paraffin lamp with a beautifully cut crystal font, a 20-line burner and matching glass shade. Two ancient scenes from the old Roman period are depicted on the vase.
Further converted Moderator lamps made of porcelain or ceramics
From left: L.008 – L.329 (Samson) – L. 106 and L. 336 (both from Bayeux) / L.316 – L.317 – L.090 (Satsuma ware) – L.335 (Gien)
The first two lamps in finely painted porcelain have almost the same shape similar to the lamp from Valentine Saint-Gaudens (see above). L.008 is painted with lush bouquets of flowers at the front and back. A ball shade from St. Louis decorates the lamp. L.329 is a product of the Parisian porcelain manufactory Samson, which made a name for itself with successful copies of well-known porcelain manufactories. The lamp here is decorated with a very finely painted chinoiserie scene.
Similar chinoiserie scenes were also offered by the Bayeux porcelain manufactory in Normandy. L.106 has a porcelain body typically painted in the Chinese style. The lamp is beautifully polychrome painted with several people, palm trees, flowers, butterflies, musical instruments, etc. L.336 from the same manufactory has the typical baluster shape of elegant Moderator lamps. In the front, a Chinese scene is painted in the Canton style; at the back, the vase is decorated with lush floral decorations and butterflies. I have included the crystal font from Baccarat.
The porcelain vase of the first two lamps on the right foto is in the long-necked baluster shape. Both lamps were electrified. I converted them to kerosene/paraffin lamps with attached glass fonts. The porcelain vase of L.316 is painted all over with a genre scene. Such scenes with young mothers and their small children can be found relatively often on smaller and larger Moderator lamps. At the back, houses framed by trees are usually painted. The manufactory of these porcelain products is unfortunately unknown to me. The tulip shade is from St. Louis. L.317 of black glazed ceramics, on the other hand, is sparsely painted, mainly in gold tones. The font is from Baccarat, the tulip shade is again from St. Louis.
The last two lamps in the photo are actually designed and made to be used in the French hanging lamps. I have fitted them as table lamps with wide tulip shades. L.090 has a spherical vase as a Satsuma ware with signature. The wide tulip shade is a British gas lamp tulip sitting on a globe holder I made. L.335 has a painted ceramic vase from the famous "Renaissance" series by the ceramic manufacturer Gien. This lamp also has a wide tulip shade made of painted milk glass.