French Lighting

A sixteen-light crystal chandelier in the manner of Baccarat. The 16 lights are on three floors. The crystals are perfectly preserved. Cleaned and re-wired, in full working order and...

Jean Boris Lacroix pair of table lamps model 316, Designed 1958, for Luminalite

Original Lalique Mossi Vase Converted to table lamp Pre 1977 signature Very nice conversion in excellent condition shown. Some scratches to base.

Housing 2-light, sitting in rare crystal bobeches. These will be rewired with certified UL US sockets for the USA and appropriate sockets for all other countries. Gold gilt metal. Ad...

French Art Deco ceiling pendant , attributed to Muller Frerés, Luneville 1930s. The Art Deco ceiling pendant is a remarkable example of the craftsmanship and style of the early 20th ...

Charming pair of Art Deco 'Deer' table lamps or night-light sculptures from 1930s France. A couple of male and female deer sculptures in iridescent bronzed spelter on marble plinths ...

Pair of unusual half sunburst wall lights with nail accents from the late Art Deco period, France, 1940s-1950s. This pair of raising sun sunburst wall lights is highly decorative due...

Gorgeous Art Deco hall lantern by Genet Michon manufactured in brass and pressed glass in the shape of a star. The glass is signed, there are a c...

Brutalist Sunburst Starburst Flush Mount Light Fixture, Gilt Iron & Frosted Glass Outstanding hand forged gilt wrought iron large sunburst ...

Articulated floor lamp by Maison Arlus France. C1950. Three shades with a switch on each. Each shade being individually articulated. The light also pivots from a ball at the bas...

A pair of gold-painted metal and white fabric wall lights designed and produced in France, c. 1940s. Overall Dimensions (inches): 19.75” H x 12.625” W x 6.375” D Bulb Specification...

An Art Nouveau one light bronze and cut-crystal pendant, circa 1900s. Socket: One x e27 (Edison) for standard screw bulbs.          

Maison Arlus gilt bronze hand wall sconce. In superb original condition, with light signs of patina, and bearing the opaline hand blown glass shade...

Vintage neoclassical style pendant light from the 1950s. Gilt metal shade holder and decorated matte glass. Tested and ready for use with a regular E27 light bulb holder. 1950s - ...

A light and simple lantern with it's original milk glass and brass accents, once an oil lamp with adjustable wick and now electrified with a single socket, the oil reservoir with a r...

French marble and bronze lamp base depicting winged victory in the Louis XVI style. This lamp can be wired at an additional cost.  

A charming vintage French horn brass chandelier from the mid-20th century, based on earlier bouillote style table lamps. Three arms shaped like miniature horn instruments terminate i...

A set of four circa 1920's French gilt bronze two-arm sconces. Sold per pair. Measurements: Height: 20" Depth: 7" Width: 15.5".

This stunning Vintage stainless steel wall light is a rare find, perfect for adding a touch of French elegance and luxury to any home. Made of durable stainless steel, this timeless...

Large Pierre Guariche 'G1' Floor Lamp for Sammode Studio in Chalk. Originally designed by Pierre Guariche in 1951, this iconic floor lamp is newly produced in an authorized re-edit...

A Pair of Art Moderne wall sconces from France circa 1940. Each frosted glass shade has the clear wavy pattern associated with the Moderne period and is supported by a bronze cap fea...

Extremely rare and elegant Art Deco desk light or table lamp with zodiac signs. Designed & manufactured by Atelier Jean Perzel, Paris, France, 1940s. Signed on the base beside the s...

A beautiful Sabino attribution Art Deco lantern chandelier, single socket, standard incandescnet bulb, wattage variable, hardwired, and ready for use....

This Maison Bagues table lamp, crafted in gilded bronze with faux bamboo details, exudes remarkable sophistication. The subtle patina on the lamp's feet adds an authentic touch of ch...

Ornate French Art Nouveau and Art Deco 2 tiers, frosted satin art glass flower petal lamp shades chandelier Measures: Diameter 29.5 in/ 75 cm H...

Will be rewired with certified US UL sockets for USA and appropriate sockets for all other countries and ready to hang. One of a kind pair! Housing 2 lights each, sitting in rare cry...

1960s vintage French Daum crystal glass table lamp. Lynx range Model 73. An elegant teardrop shape fused onto a rock formation base. PAT tested...

Lune Matte Cream White Ceramic Table Lamp by Grès Éditions Unique Piece. Dimensions: Lampshade: Ø 16 x H 23 cm. Base: H 20 cm. Materials: Ecru cotton and ceramic. Weight: 1,2 kg. El...

Art Deco floor lamp with nickel finish bronze and lacquered wood.

ART DECO ceiling lamp, signed Muller Freres an Atelier Petitot The ART DECO ceiling lamp is a remarkable example of the craftsmanship and style of the early 20th century. The sign...

Early 20th century antique red metal ceiling lamp. By unknown manufacturer, France. In original condition, with minor wear consistent with age and use, preserving a beautiful pat...

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...

MODEL PRESENTED AT THE 1867 PARIS UNIVERSAL EXHIBITION Listed in the Ferdinand Barbedienne’s catalogue as the “Deux femmes debout” (Two standing ladies) Signed on each one P. Dubois – F. Barbedienne Fondeur and A. Falguière – F. Barbedienne Fondeur Rare pair of parcel-gilt and patinated bronze figures, representing two women dressed in Antique style costume with jewels, each upholding a seven lights-arm candelabra. Standing on round bronze bases and black marble socles. Paul Dubois (1827-1905) entered the Paris Beaux-Arts School in 1858. He exhibited at the 1865 Salon the Chanteur Florentin, illustrating Florentine sculpture, observed after his journey in Italy. This work, cast that time in silvered bronze, was exhibited at the 1867 Paris Universal Exhibition (now preserved at the Orsay museum). Dubois' success brought him many commissions, both private (Portrait of Duc d'Aumale) and public (Jeanne d'Arc, in Reims). Appointed curator at the Luxembourg museum in 1873, Dubois became also a member of the Institute and finally headmaster at the Beaux-Arts School in 1878. Alexandre Falguière (1831-1900) studied under Jouffroy at the Paris Ecole des Beaux-Arts, began his career at the Paris Salon in 1857 and won as soon as 1859 the “Prix de Rome”. Falguière became very quickly successful and was several times awarded medals at the Salon, such in 1868 with his marble sculpture Tarcisius the Christian Boy-Martyr, or at the 1867 Paris Universal Exhibition, where he won the first medal in his category. Thanks to that success, he was immediately commissioned by private collectors as well as by the French State, whom asked him in 1878 to realize the Triomphe de la République, placed in 1881 at the summit of the Paris Arch of Triumph...

Pair of tall and elegant table lamps made in ceramic by the French artist Olivia Cognet, topped with Dedar Milano fabric lamp shades. Since moving to Los Angeles in 2016, French art...

Pair of wall sconces around 1950, in the Maison Lunel style, with double arms, the entire structure is made of brass, the lampshades are original opaline glass. one of them have a sm...

French Art Deco chandelier by René Lalique "Rinceaux" Clear and frosted pressed glass. Suspended by nickel rods and canopy, electrified for the US. Measures: Diameter 15", height 25".

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...

Pair of Antique French Empire style brass horn and arrow motif wall sconces. Each with 2 candelabra size lights with black and gold clip on shades. Newly wired, added are 5" round ba...

Floor Lamp, France 1940s. The measurements given apply to the lamp base without the shade. The base is like a concrete material. Some nice brass details and the mahogany wood just l...

Pair of French 19th century Directoire tole, iron and crystal chandeliers with crystal drapes hanging from plumes at top, and unusual square cut crystals around the center ring, with...

Pair of Post-War Design dark maroon lacquer lamps on a square chrome and brass stepped up base. (signed: J. C. MAHEY) (PRICED AS Pair).

Unique, Wonderful Art Deco gilt bronze and crystal chandelier or lantern with a three-light central candelabra cluster, France, 1910-1920. Crown-shaped, richly decorated frame made o...

work table lamp from Philips, 1950s This Philips work lamp is from the 1950s. Inspired by Charlotte Perriand in the way she designed objects that met the needs of life and were acc...

Impressive 19th century French Louis XV bronze chandelier with 24 lights. Large scale and very fine quality. A stunning fixture!! Circa 1880. 48 h x 32w

Rare French "rooster" table lamp from the 1960-1970s. Bronze painted sheet metal, worked into the shape of a crowing rooster with a rope-covered shade. One original B22 socket with n...

#20104-26 Maison Baguès chandelier, 26 lights. Price is for dark patina (shown on picture). Various finish possible: polished brass, satin brass, polished nickel, satin nickel, dar...

Art Nouveau chandelier from Hector Guimard. Bronze with patinated nickel finish and purple glasses (lie de vin).

Christian Liaigre Acier Table Lamp, Bronze-painted metal spine with exposed cord power source and original paper cone-shaped shade. This Bronze brass lamp blends in with all types o...

Orbe Matte Cream White Ceramic Table Lamp by Grès Éditions Unique Piece. Dimensions: Lampshade: Ø 20 x H 28 cm. Base: H 30 cm. Materials: Jute and ceramic. Weight: 2,7 kg. Electrica...

French Art Deco pendant light with frosted white glass lamp shade/bowl by Jean Noverdy, circa the 1930s. This beautifully shaped white frosted glass bowl features stylized flower and leaf decoration, marked on the edge ”Noverdy France Depose...

Double bamboo wall sconce by Louis SOGNOT, France, 1950s. Bamboo and paper. Paper shades. Height: 12.6"(32cm), Width : 13"(33cm), Depth : 8.3"(21cm). Very good condition. Delivered w...

Art Nouveau stained glass lantern, France, 1890-1900. This magnificent Art Nouveau stained glass lantern, dating from 1890-1900, combines vibrant stained glass panels with an intrica...

French Art Deco pendant chandelier by Deveau, 21 rue Sainte-Marguerite, Pantin, Paris, France - 1920s. Pink lampshade showing an acid-etched rosebush pattern. Height : 15.8"(40cm), D...

Very large antique crystal glass and ormolu chandelier by Baccarat French, Late 19th Century Height 182cm, diameter 118cm This stunning chandelier from the Belle Époque era is a ma...

A late 19th century Louis XV-style Bouillotte table lamp, with original, green, gilt- decorated tole lampshade, above a base of three upturned decorative brass candle arms supported ...

Step back in time with the allure of a Mid-Century Modern sunburst brass wall lamp, a design gem from circa 1960, steeped in the traditions of French craftsmanship. Crafted with meti...

This stunning pair of 18th-century French table lamps is crafted from giltwood architectural fragments, repurposed into elegant lighting pieces. The fragments feature elaborate Rococ...

Art Deco style lamp nude holding a globe ENIGME signed Max Le Verrier with foundry mark. Design ca. 1930. Posthumous contemporary cast at the Le Verrier foundry in Paris. Patinated ...