Guittot Antiques

Art Deco lamp circa 1925. Wrought iron base decorated with algae and spirals. Stamped E. Brandt alabaster top. Electrified, in perfect condition. Height: 48 cm Shell diameter: 20...

Pair of art deco vases in blown glass in a wrought iron frame. Signed Lorrain for Daum Nancy. Lorrain (Belle Etoile glassworks, Daum & Co in Croismare, active from 1923 to 1936) Tot...

Pair of art nouveau wall lights circa 1900. In the style of Was Benson, in copper and brass. Floral tulip in opalescent glass. In perfect condition, electrified. Width: 12,5 cm Hei...

Art Deco bronze circa 1930 representing 5 birds on a branch. Subjects in silvered bronze on a black marble and onyx base. Stamped bronze on the back of the branch and signed Rochard ...

Art Deco vase circa 1930. Blown glass in a wrought iron and bronze frame. Signed A.Delatte Nancy. Height: 27 cm Base diameter: 10.2 cm Neck diameter: 10.8 cm André Delatte (born in...

Art Deco lamp circa 1930. Silver-plated bronze base. Geometric-shaped molded glass shell. Hugues molded signature. In perfect condition. Electrified. Total height: 46 cm Base diamet...

Art nouveau lamp circa 1900. Gilt bronze base probably by Louis Majorelle. Glass paste tulip signed Daum Nancy. In perfect condition. Electrified, B22 socket, bayonet bulb. Height: ...

Art nouveau chandelier circa 1900. Brass and copper frame with 5 branches. 5 opalescent glass tulips by James Powel. Stamped 2 times "Benson". Electrified and in perfect condition. ...

Art Deco lamp circa 1925. Wrought iron base representing a treble clef, stamped "le fer forgé Henri Fournier (ironworker in Lyon.) Glass paste tulip signed Muller Frères Luneville. I...

Art Deco lamp circa 1925. Wrought iron base with gingko biloba decoration stamped A. Moyens (Marseille ironworker). Glass paste tulip signed Schneider. In perfect condition and elect...

Art Deco lamp circa 1925. Wrought iron base with ginkgo biloba decoration, stamped A. Moyens (Marseille ironworker). Glass paste tulip signed Daum Nancy. In perfect condition and ele...

Art nouveau lamp circa 1910. Brass and copper base. Iridescent glass tulip signed Quezal. In perfect condition and electrified. Total height: 38.5 cm Base diameter: 15.5 cm Width: 30 cm 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 glass, under William S. Blake at the Union Glass Company. Maurice Kelly’s tenure with Quezal was also brief. Kelly worked at Quezal from January 1902 until July 1904, but by November 1904, he was making Favrile glass at Tiffany Furnaces, where he would happily remain until 1918. To this day, the belief still exists that there once existed a man named Quezal, who worked for Louis C. Tiffany, and it is after him that Quezal glass is named. In truth, however, the founders of the Quezal Art Glass and Decorating Company named the company and its products after one of the world’s most beautiful birds, the elusive and rare quetzal, which dwells in the treetops of the remote tropical forests of Central America. A rare company promotional brochure provides a vivid description of the quetzal: Of all the birds of the America’s, it is the most gorgeous. No more splendid sight is to be seen in all the world than a quezal, flying like a darting flame through the depths of a Central American forest. Its back is of a brilliant metallic green, so vivid it shines even in the twilight of the woods like a great emerald and its breast is a crimson so deep and bright that every motion of the wonderful creature is a flashing of rubies among the trees and giant creepers. It bears a true golden crown upon its head – a helmet of bright yellow and green, shaped just as the helmet of old Aztec kings were shaped. Its tail is composed of lacelike plumes, extending more than two and one-half feet beyond its body. The quezal was certainly an appropriate designation for the company’s resplendent glassware. One of the most prized characteristics of Quezal art glass is the shimmering and dazzling brilliance reflected in the iridescent surfaces on the interior as well as exterior of the glass. The radiant rainbow colors in metallic hues, including gold, purple, blue, green, and pink, to name only a few, were certainly inspired by the quetzal and its feathers. Not surprisingly, lustrous feathers, in shades of opal, gold, emerald, and blue, are among the most common decorative motifs encountered on Quezal glass. The enduring hallmark of Quezal art glass is its unique expression of the Art Nouveau style, based on organic shapes and naturalistic motifs coupled with technical perfection in the execution. Vases, compotes, drinking vessels, and shades for lighting fixtures were often fashioned to resemble flowers such as crocuses, tulips, calla lilies, casablanca lilies, and jack-in-the-pulpits. Variously colored inlaid threads of glass, pulled and twisted by hooks, simulate naturalistic floral and leaf patterns, lily pads, clover leafs, and vines. Opal, gold, and green colors prevail and the glass is generally opaque. Red is the rarest color of all. Compared with Tiffany’s Favrile glass, the crisp, vivid, and colorful decoration of Quezal art glass is distinctively precise, symmetrical, and restrained. Other Quezal wares recall shapes and styles favored in ancient Egypt, Persia, Greece, and Rome, as well as the Italian Renaissance and the Georgian period in England. This is especially true of classic-shaped vases and bowls of translucent amber glass, which have a single surface color such as iridescent gold or blue. Still, others were inspired by traditional Chinese and Japanese forms. The Gorham Manufacturing Company in Providence, Rhode Island, and the Alvin Silver Manufacturing Company in Sag Harbor, Long Island, purchased Quezal art glass, which they in turn embellished in their shops with silver overlay decoration in the fashionable Art Nouveau style and later resold. Gorham’s silver overlay designs mostly include stylized floral motifs. Alvin’s silver designs are wonderfully organic. One sumptuous design is of a group of sinuous iris blossoms with carefully articulated petals surrounded by attenuated meandering vines. Collectors should note that not all silver-deposit pieces are marked with a maker’s mark since the silversmith had to be quite careful not to damage the glass underneath. A rare 1907 retail catalog survives from Bailey, Banks, and Biddle Company, a luxury goods retailer in Philadelphia, which reveals original retail prices of Quezal art glass. A surprising revelation provided by this catalog is that Quezal art glass was nearly twice as expensive as comparable French imported glass made by such renowned firms as Gallé and Daum. Hock glasses, a stemmed glass used primarily for drinking German white wine, were sold by the dozen and retailed between $50 and $75. Fingerbowls were also sold by the dozen and retailed between $50 and $100. These high retail prices were nearly the same as those charged for Tiffany’s Favrile glass, and suggest Quezal art glass was also marketed towards the high-end or luxury market. Electricity was a brand new invention in the late 1800s and American glass manufacturers developed novel approaches for concealing the electric light bulb, which was rather harsh to the eye and perhaps unflattering to the domestic interior. Tiffany, Steuben, and Quezal responded to this need with the most extraordinary and beautiful art-glass shades, all of which were  hand-made and exquisitely fashioned. Many other companies also made art glass shades for table and floor lamps, electroliers, hallway fixtures, and wall sconces, but it was Quezal that excelled in this area and was the most prolific. Quezal art glass shades were available in an infinite variety of shapes, sizes, colors, and decorations. Some shades are formed and decorated as lilies while others are bell-shaped and have ribbed or textured decoration. Rims are usually plain but sometimes are notched or ruffled. Common motifs include feather or hooked feather, leaf and vine, applied flowers, drape, fishnet, King Tut, and spider webbing. The workmanship shown on most Quezal shades...

Large model of art deco sculpture "Danseuse aux cerceaux" pati. Subject in spelter with green patina on black marble base, signed on the base. Model by Le Faguays published by Max Le...

Art Deco floor lamp circa 1925. Wrought iron base by Jules Cayette. Glassware by Charles Schneider. 1 basin of 40 cm in diameter and 6 blown glass balls. In perfect condition, electrified, 3 lights. Height: 167.5 cm Base diameter: 49 cm Basin diameter: 40 cm Weight: 16 Kg Édouard Élie Jules Cayette, born on May 27, 1882 in Paris and died on January 2, 1953 in Nancy, was a French ironworker, bronze worker, cabinetmaker, sculptor and interior decorator, representative of the Art Nouveau movement, then of that of Art Deco. In 1896, he enrolled for the first time at the municipal and regional school of fine arts in Nancy. He left the school in 1899 and entered as an apprentice with Férez, a wood sculptor and carpenter from Nancy. In 1900, he re-enrolled at the Beaux-Arts in Nancy, while continuing his apprenticeship with Schwartz. He left the school for good in 1902. During this apprenticeship, he received instruction from Victor Prouvé and Eugène Vallin. His classmates were Auguste Vallin, Joseph Mougin and Pierre Mougin. In 1904, he joined Jacques Gruber as a collaborator, where he perfected his style. He modeled many compositions and made sculptures in place of the master as far as furniture was concerned. The workshop then adjoined that of Vallin, hence the latter's definite influence on Cayette's early works. In 1910, Jules Cayette set up his own business and officially began his activity on August 1st. From 1912, he exhibited regularly at the Société lorraine des amis des arts. It was at this time that he met his main patron, Saint-Just Péquart (1881-1944). He set up his first workshop on rue Collinet de La Salle in Nancy in 1913, the date of his first mention in the Meurthe-et-Moselle commercial directory. He married Marie Lucie Berche (1893-1933) on May 11, 1918. In 1919, he moved and set up his workshop at 63, rue des Jardiniers (which would be supplemented by the one on rue du Montet, currently avenue du Général Leclerc, bought from the widow Guth). The 1920s were the glory years of the workshops, which employed a dozen workers. The productions were very varied: from bronze ashtrays to light fixtures — always with Daum glassware...

Suite of 4 art deco wall lights signed SEVB (Société d'Exploitation des Verreries de Bagneaux). Pressed molded glass with floral decoration. Wrought iron frame. Electrified, E14 sock...

Paperweight, decorative office object in wrought iron and red copper circa 1925. Executed in Lyon by Henri Fournier establishment "le fer forgé". In perfect condition. Stamped "wrou...

Paperweight, decorative wrought iron office object circa 1925. Executed in Lyon by Henri Fournier establishment "le fer forgé". Stamped "le fer forgé". This is probably a unique pie...

Art deco clock circa 1920 in wrought iron with floral decoration of very beautiful manufacture. Stamped Fag for Ferronnerie D'art des Galleries (Galeries Laffayette) directed by Marcel Vasseur. Marble base. In perfect condition. The movement works but has not been serviced. Height: 29cm Width: 40cm Depth: 14cm Weight: 10 Kg The Galeries Lafayette department store on Boulevard Haussmann in Paris was inaugurated in October 1912. Soon, it became the second most visited monument in Paris, after the Eiffel Tower. In 1922, the Galeries Lafayette department store opened the "La Maîtrise" applied art studios run by the decorator Maurice Dufrêne, who became its artistic director. The vocation of these workshops is to produce "works" (furniture, fabrics, rugs, wallpapers, ceramics, etc.) within the reach of all (well almost). The decorators and twin brothers Jean and Jacques Adnet, are among the first collaborators. An ironwork section is created under the name of Ferronnerie d'Art Des Galeries. Talented ironworkers participate, such as Marcel Vasseur, who created the ironwork of La Maîtrise Pavilion at the 1925 International Exhibition of Modern Decorative and Industrial Arts...

Pair of Christofle vase marked 55 S in bronze with brown patina Vase not signed because base too small Good condition, some micro-scratches of use. In the last photo, similar model s...

Set of six hand-cut crystal wine glasses all in a different color and in perfect condition with the Lorraine crystal stamps under the foot. although l...

Muller Frères, chandelier with 4 plates and central bowl. Floral decor. Silvered bronze frame. Electrified. E14 socket. 5 lights. In perfect condition Height: 85cm Diameter: 52cm Weight: 20 Kg The Muller brothers...

Art deco sculpture circa 1930. “The nest” in silvered bronze on a black marble base. In very good shape. Total height: 50 cm Width: 10.2cm Depth: 10.2 cm Weight: 2.4 kg ANDRÉ-VINCE...

Inkwell night light by René Lalique, in dark red pressed molded glass. Silvered bronze base. Electrified. 3 polished chips. Total height: 10 cm Width: 15cm Depth: 15cm Weight: 1,4 ...

Atmos art deco clock circa 1930 stamped JL Reutter N. System invented by J.L. Reutter and produced by himself before reselling the patent to Jaeger le Coultre. Pendulum in very go...

Rare art nouveau transitional art deco floor lamp. In bronze with floral decoration topped with an alabaster basin. Electrified and in perfect condition. Model listed in “The Paris Salons Voloume V” page 234. It dates from 1913, autumn salon. Total height: 177 cm Base diameter: 34 cm Basin diameter: 45 cm Weight: 20 Kg Sent in two separate packages. Maurice Dufrène is a French cabinetmaker, interior designer, chief decorator and writer, born in 1876 in Paris and died in 1955 in Nogent-sur-Marne. Maurice Dufrène was co-founder in 1902 of the Society of Decorative Artists. In 1920 he created the Maîtrise workshop at Galeries Lafayette. He advocates mass production and works with all materials: fabric, glass, wood, silver, ceramics. Through Henri Rapin he met Camille Tharaud for whom he created several forms of porcelain cups. He designed the decoration of the large hall of the Parisian cinema Le Grand Rex...

Art deco lamp circa 1930. Nickel-plated wrought iron base stamped FAG (Ferronnerie d'Art des Galeries). Acid-etched glass shell signed Daum Nancy. In perfect condition and electrifie...

Art Nouveau pendant light circa 1905 in copper and brass in the spirit of Was Benson. This one was produced by General Electric France. 4 lights, electrified in very good condition...

Suite of 3 wall lights by René Lalique model fougères created on January 9, 1924. Published from 1924 to 1936. In pressed molded white glass with brown patina. Signed R. Lalique. ...

Art deco wall lamp by René Lalique, fougère model, created on January 9, 1924. Published from 1924 to 1936. In pressed molded white glass with a brown patina. The wall lamp has a cr...

“6 Dancers” lamp cover by René Lalique. Model created on August 18, 1931. In perfect condition. Height: 13.4cm Diameter: 32.7 cm Weight: 1.5 Kg Born in 1860 in Aÿ in Champagne, René...

Art deco engraving from 1933 signed louis Icart modern model Ève version ll In very good condition, some light stains in the margin. Width: 57 cm Height: 72 cm Depth: 2,5 cm Weight: ...

Art deco lamp circa 1925 wrought iron base decorated with roses. Tulip in white and pink speckled glass signed Schneider. In perfect condition and electrified. Width: base 15 x 15...

Art deco chandelier. 1 bowl and 3 tulips in white glass, acid-etched. The 4 pieces are signed Daum Nancy. Wrought iron frame by Louis Katona, stamped twice L. Katona. In perfect cond...

Art deco sculpture in silvered bronze, "Swallow in flight". Signed Ruchot with founder's stamp Marcel Guillemard, stamped "Bronze". On a black marble base, note a shine on the marble...

Art deco night light in glass paste model Rosaces. Wrought iron frame cast signature G. ARGY ROUSSEAU and FRANCE Electrified, in perfect condition. With superb color. Hight. 18cm D...

ANDRÉ-VINCENT BECQUEREL silvered bronze circa 1930. 7 swallows on a weather vane mounted on a surfine black marble base from Belgium. Note 2 small chips on the marble . Total height...

Chandelier circa 1930 with six molded glass plates. Lotus flower decoration by Morin et Cie. Wrought iron frame. Electrified 3 burners. In very good shape. Diameter: 54 cm Height: 72 cm Weight: 15 Kg The chandelier was made by B.Morin. A company in the city of Lyon France during the interbellum producing wrought iron and bronze lighting fixtures...

Pair of art deco lamps circa 1930. Gazelle in silvered bronze on marble base. Electrified for US, E14 socket, screw bulb. In perfect condition. Height: 44.5cm Width: 31cm Length: 17....

Pair of art deco wall lights circa 1930, wrought iron frame with black patina. Molded glass plates with floral decoration. Signed Boyreau company in Bordeaux, in perfect condition. E...

Art deco lamp circa 1930. Wrought iron base and molded glass tulip with geometric and floral decoration. Electrified and in perfect condition. Signed Maynadier on the tulip. Diamete...

Art deco lamp circa 1925. Wrought iron base, sphere model. Alabaster tulip. Electrified, B22 socket, bayonet LED bulb. In perfect condition. Height: 33cm Width: 9 cm Depth: 9cm Weight: 3.1 kg Edgar Brandt was born in Paris in 1880 and studied at the Vocational School of Vierzon. In 1925, BRANDT took part in the International Exhibition of Modern Decorative and Industrial Arts...

Art deco night light circa 1930. Wrought iron base, black patina. Molded glass plate with fish decoration. Electrified and in perfect condition. Molded signature “Boyreau Bordeaux” ...

Suite of 4 wall lights signed Ezan circa 1935. Opalescent molded glass tulip. Wrought iron frame. In perfect condition. Electrified, B22 socket, bayonet bulb. Total height: 20 cm Width: 26.5cm Depth: 26cm Weight: 8 Kg Jean GAUTHIER (Ezan) Little information on this glass and porcelain decorator whose first establishment was located at 12 and 14 rue Jean Robert in the 18th arrondissement in Paris, before opening a factory in Ezanville to the north of the capital. Its glassware is signed “Gauthier”. Some pieces are signed “EJG Etablissements Jean Gauthier...

Ezan, suite of 4 art deco wall lights circa 1935. Opalescent molded glass, wrought iron frame. Electrified, E14 socket, screw bulb. In perfect condition, note some micro scratches. Total height: 19 cm Width: 21cm Depth: 26cm ​​​​​​Weight: 6.5 Kg Jean GAUTHIER (Ezan) Little information on this glass and porcelain decorator whose first establishment was located at 12 and 14 rue Jean Robert in the 18th arrondissement in Paris, before opening a factory in Ezanville to the north of the capital. Its glassware is signed “Gauthier”. Some pieces are signed “EJG Etablissements Jean Gauthier...

Art Nouveau lamp circa 1900. Patinated regula representing a nymph, signed L. Bessin for Paul Lucien Bessin. Glass paste tulip signed Daum Nancy. Electrified and in perfect condition...

Art deco cone vase circa 1930 in green color. Signed Daum Nancy France. In perfect condition Note micro scratches inside Height: 27.3 cm Neck diameter: 14.5 cm Base: 11.3cm x 11.3cm...

double art nouveau lamp, circa 1915 Wrought iron foot with floral decoration, stamped Olié. Glass paste tulips signed Schneider. Electrified and in perfect condition. Height: 55cm W...

Art deco floor lamp circa 1925 attributed to Louis Majorelle. Wrought iron with bronze applications. Very good quality wrought iron. Electrified and in perfect condition. The basin w...

Suite of 3 art deco wall lights circa 1930 in unsigned molded glass attributed to Hubens hammered iron frame, in perfect condition. Electrify E 14 screw bulb socket . Height 31 cm ...

Art deco engraving circa 1925. Elegant lady with parasol and macaws. Signed Jean Hardy, French engraver, decorator and illustrator from the circle of the fa...

Art Deco sculpture in silvered bronze bird on branch of vines. The whole thing is on a black marble base (surfin from Belgium). Signed Bacquerel and stamped "bronze". Note two shine...

Pair of lamps around 1900 in bronze and gilded brass. Multi colored Muller Frères tulips. Electrified in Perfect condition. These lamps come from a Parisian brasserie from the beginn...

Silvered bronze circa 1930. Eagle on a rock mounted on a marble base. Signed Rischmann. Eagle height: 31.5 cm Total height: 52 cm Width: 13 cm Depth: 13 cm Weight: 10Kg Henri Rischmann was well known for his silvered and polychromed animalia sculptures.

Henri Mouynet Art Deco Lamp Art deco lamp circa 1930. Nickel-plated wrought iron foot with floral decoration. Molded glass shell, geometric and floral decoration. Attributed to Henr...

Edgard Brandt, Rare art nouveau brooch. Blue heart-cut glass set in the middle. Foliage finely hammered with the mastery of Brandt's work on wrought iron. Signed Edgard Brandt. Note ...

Large pair of art nouveau sconces circa 1900. Gilt bronze mount with floral decoration. Opalescent blown glass tulip globe. In the taste of Majorette. In perfect condition and electr...

Art deco sculpture circa 1930. Regulates silver and gold cold patina. All on a portor marble base. Small restoration on a cymbal. Signed on Limousin ...

Art deco sculpture circa 1930 in spelter with green patina. Large model, Portor marble base. In perfect condition. Signed on the marble M. le verrier Total height: 80 cm Width: 41 c...

Art deco bronze circa 1930 representing two crested titmice with brown and green patina on a portor marble base signed on the bronze M. Guillemard for Marcel Guillemard. In perfect c...

Art deco lamp circa 1930. Wrought iron foot stamped Robert. Molded glass shell with unsigned floral decoration. This model is very well known in Lorraine. Electrified and in very goo...