A pair of fine French enamelled cast iron jardinieres by E. Paris & Cie, circa 1880, the cobalt vermicular grounds enamelled overall with stylised flowerheads and scrolling acanthus in ochre, white and green in the style of maiolica, mounted with gilt twin lion masks and raised on paw feet, each signed E. Paris et Cie 47 Rue de Paradis to the lower body, 50cm high, approximately 47cm wide These planters were made in c 1880 by the renowned firm of Charles-Emile Paris specializing in the manufacture of crystal glass, enamelling and mosaics. The crystal making and enamelling firm was founded in 1827 or1829 at rue de Bercy by his father, Jean-Alexandre Paris, who was the jeweller goldsmith of the Palais Royal. In 1867 Charles-Emile Paris left the Parisian site due to the new law forbidding the emission of industrial smoke in the capital, and founded a new factory at Le Bourget (Seine) at the site of a Louis XV hunting lodge. The new plant was destroyed during the war of 1870 and ruined Charles-Emile Paris; he had to sell the land in order to rebuild the factory on the leased site. The business was successful and the number of employees grew steadily and subsequently a retail shop was opened at rue de Paradis in the 10th arrondissement of Paris in 1876. It was a dynamic and innovative firm, which ensured its success. Among the most notable and prestigious of its achievements was the supply of enamels (1847) for the tomb of Napoleon at the Invalides, decorative mosaic enamels at the Casino de Monte-Carlo (1879), and winning a number of highly prestigious awards at the Paris International Exhibitions in 1867, 1878 and 1889 in various categories. Charles-Emile Paris also specialized in making elegant enamelled cast iron pots for displaying plants in conservatories. The present pair represent a striking departure from the usual blue and white colour scheme of Paris & Cie planters. Their colour palette of cobalt blue, antimony yellow and copper green can best be likened to the colour of Italian 15th and 16th century maiolica, which was being rediscovered by collectors and designers during the 19th century. This was particularly evident during the International Exhibitions, which saw a surge in Renaissance-inspired designs from the late 1860s onwards.