Julien Causse Furniture

An exceptional wrought iron lamp base. We believe this was probably a custom crafted gas newel post lamp originally. A considerable amount of skilled workmanship went into the iron work with an Art Nouveau design of acorns and oak leaves. The flame glass shade...

Lovely period Austrian Art Nouveau bronze table lamp. This beautifully detailed, high quality Austrian bronze lamp has been newly wired and would w...

Charming porcelain group of a maiden surrounded by her goose, executed by Axel Locker for Bing & Grøndahl around 1900.

This is a nice sized lamp with a 17 inch diameter. The base is heavy bronze with with beautiful clean lines. The shade and slag glass are free of cracks or chips. Each glass panel ha...

19th century French bronze Art Nouveau classical figural woman.

"Antoine Louis Barye (1796-1875) Large standing Stag patinated bronze in beautiful original condition. The Bronze with brown patina. Signed o...

Fée de Printemps (Spirit of Spring) by Mathurin Moreau (1822-1912) Signature and foundry stamped to base Marked "Exposition universelle de 1889" E. Colin & Cie, Paris foundry

Exquisite Art Nouveau desk lamp rare & early design by David Guéron Degué France 1920. Bronze art nouveau frame with a Heron & floral branches / leaves combined with a hand made ''...

At the turn of the 20th century, Art Nouveau emerged as a reaction against historic revival styles and the mass-production brought about by the Industrial Revolution. It favoured org...

A large 19th century patinated bronze group titled: "Amalthea and Jupiter's Goat" after Pierre Julien (French 1731-1804) The goddess portrayed as nude but for drapery held across her breasts and falling to her lap, seated on the back of the goat with her right foot raised to rest on a rock outcrop. Signed: Julien Circa 1880. Height: 34" (86.3 cm) Width: 21" (53.3 cm) Depth: 15" (38.1 cm) Pierre Julien's model of Amalthée et la chèvre...

Figurative sculpture of a man Made of bronze Made in the mid 20th century signed "JCB" Beautiful craftsmanship

Art Nouveau desk lamp, circa 1905. Brass and copper frame. Rare iridescent glass shade signed Quezal. Electrified and in very good condition. Height: 60.5 cm Width: 21 cm Depth: 35 cm Weight: 2.6 kg Quezal Art Glass Quezal Art Glass – The Journal of Antiques and Collectibles – April 2003 By Malcolm Mac Neil Some of the most beautiful and alluring art glass made in America during the early part of the 20th Century was made by the Quezal Art Glass and Decorating Company. Often in the shape of blossoming lilies with brilliant gold interiors and colorfully decorated with floral and other motifs inspired by nature, Quezal art glass ranks right alongside the iridescent glass of Louis Comfort Tiffany and Frederick Carder. Quezal artisans created an extensive range of decorative and useful items, including vases, compotes, finger bowls, open salts, candle holders, and shades for lighting fixtures, which are equivalent in terms of beauty and quality of craftsmanship to Tiffany’s Favrile and Carder’s Aurene glass. In recent years, glass collectors have discovered anew the special charms and appeal of Quezal art glass, and collector desirability for this lovely glassware has increased dramatically. The Quezal Art Glass and Decorating Company was incorporated a century ago, on March 27, 1902. It was founded by Martin Bach, Sr., Thomas Johnson, Nicholas Bach, Lena Scholtz, and Adolph Demuth. The factory was located on the corner of Fresh Pond Road and Metropolitan Avenue in Maspeth, Queens, New York. In October 1902, the trademark “Quezal” was successfully registered. By 1904, roughly fifty glassworkers were employed at the works. Martin Bach, Sr. was the president, proprietor, and guiding force behind this successful company. Born in 1862 in Alsace-Lorraine to German parents, he emigrated to the United States in 1891. Before his emigration, Bach worked in Saint-Louis, France, at the Saint-Louis Glass Factory. After Bach arrived in this country, he was hired by Louis C. Tiffany as the latter’s first batch-mixer or chemist at the newly established Tiffany Glass and Decorating Company, in Corona, Queens. After a period of about eight years, Bach left Tiffany and established his own glassworks. By this time, Bach had already started his small family. He and his German-born wife, Anne-Marie Geisser, whom he married in the fall of 1889, in Paris, France, had three children. Two daughters, Jennie and Louise, were born in France and a son, Martin, Jr., was born in Corona. Bach was assisted by Thomas Johnson, an English immigrant, and Maurice Kelly, a native of Corona, both of whom were gaffers or master glassblowers. Johnson and Kelly helped pave the way for Quezal’s early accomplishments and later recognition. Thomas Johnson, like Bach, was a founding member and also previously employed by Louis C. Tiffany. Johnson’s association with Quezal, however, was relatively short lived. Around 1907, Johnson left for Somerville, Massachusetts, where he became involved in making Kew Blas...