Art Nouveau Table Lamps

Tiffany Favrile Arabian lamp. Art Nouveau, circa 1910 Tiffany Arabian lamp has blown glass shade and base. Shade is decorated with a green iride...

Rare antique Victorian Art Nouveau Fostoria converted Gone with the Wind parlor oil lamp. Pierced floral brass base - molded frosted / satin glass body hand painted with red flowers,...

Tiffany Studios bronze desk lamp with original iridescent shade, scrolled bulbous harp, and resting on circular fluted base with the original five bal...

Franz Xavier Bergman (1861-1936) Namgreb Table lamp Austrian cold painted bronze lamp of Bedouin guard sitting with his rifle in fro...

We are delighted to offer this stunning Art Nouveau style salon lamp, a faithful reinterpretation of the "Hanging Head Dragonfly Shade and Mosaic and Turtleback Base" model created by Tiffany Studios in 1906 and attributed to the renowned artist Clara Pierce Wolcott Driscoll (1861-1944). This artwork is notably displayed at the Art Institute of Chicago. This high-quality piece, made in the 1980s, stands out for its exceptional craftsmanship and high level of execution. It embodies both the refinement of the Art Nouveau style and the timeless elegance of Tiffany creations. Description of the Artwork: Bronze Base: The base of this lamp, made of bronze, is a work of art in itself. It follows the design of the original model, while being enhanced with artistic details that showcase the exceptional skill of the artisans. Nature-inspired motifs, characteristic of Art Nouveau, are finely crafted, with an elegant patina that gives the lamp a sculptural dimension. Base Covered in "Turtleback Shells" / Glass Tiles and Mosaic: The lamp's base features a combination of glass tiles and mosaics, creating a fascinating visual effect. The glass tiles, reminiscent of turtle shells, were used by Tiffany in their original creations, where light passes through the glass pieces to reveal a play of shadows and light embedded in a harmonious composition. The lighting effect is spectacular, especially when the lamp is lit, as the light diffused through the glass elements creates a warm and enchanting atmosphere. Dragonfly Stained Glass...

Fully Fitted & PAT Tested Electrics - UK STANDARD PLUG FITTED - WILL NEED WIRING FOR USA OR OTHER INTERNATIONAL APPLICATION. From our Decorative collection, we are delighted to offer this rare original Austrian Cold Painted Bronze Galleon Lamp...

An original Tiffany Studios 18” diameter geometric table lamp with a circumferential band of “whirling leaves” at its shoulder. It is signed with a small tag that reads “Tiffany Stud...

A stunning American Art Nouveau Emeralie table lamp or desk lamp with its original shade. This superb banker's lamp / Emeralite with red / orange opaline glass shade and brass base w...

Antique American bronze and leaded glass table lamp by Wilkinson, circa 1910. The three light lamp having a dome shaped shade with striated leaded glass green & ivory tiles and havin...

ASH from Waves of Light Collection Light is not just about seeing, it’s about feeling. The "Waves of Light" collection is inspired by the vibrating movements of light, the curving s...

Intricate metal work with foliage detail and blue Slag glass panels. There are three settings for the lamp, you can light just the stem light or just the reading light or you can hav...

According to the famous pendant-lamp for the dining room and the entrance hall at the Purkersdorf Sanatorium designed by Josef Hoffmann in 1903, this table lamp matches perfectly. M...

Art Nouveau table lamp made in Austria in 1910s. Restored: cleaned, polished, rewired 1x40W, E25-E27 bulb US plug adapter included

MARE from Waves of Light Light is not just about seeing, it’s about feeling. The "Waves of Light" collection is inspired by the vibrating movements of light, the curving shadows of ...

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...

A fine antique original, authentic, Art Nouveau French cameo glass table lamp, signed Muller Freres, circa 1900. Established in Lunéville, France, Muller Frères consisted of a group ...

Green Linenfold Lamp Tiffany Studios Circa 1915 This Tiffany Studios library lamp features a lush green favrile fabrique shade, also known as the Linenfold pattern. The shade's gree...

An amazing and rare antique Danish elephant lamp from the 1920s by Voss of Fredericia. Raised on 3 elephant heads of cast iron with white painted iro...

Excellent rendition of a Tiffany style lamp, bronze with a conch shell shade. Beautifully cast with a deep bronze patina. In cord switch with a dim...

This vintage early four-light lily table lamp was produced in the early 1900s by the Tiffany Studios, New York. The stylish patinated bronze base is decorated in an onion motif & fea...

A superb stunning and very large Art Nouveau Gilt Bronze Dore figural lamp of a lady with flora and foliage decoration and with three branch light fittings. Circa 1900. Signed Henri Ple...

Jugendstil Table lamp with original opaline glass shade vienna around 1910 Brass polished and stove enameled.

The "Newell Post" lamp by Tiffany Studios New York, features three gold Favrile glass shades with purple iridescence, suspended from a gilt bronze “Wilson”...

Ornate and beautifully made Danish, 1920s desk lamp with frame and base of patinated copper and brass. Its mounted with a black steel shade that may h...

Pair of Italian Art Nouveau Vintage cementite table lamps. The lamps were made in Italy in the 1920s using cement tiles with geometric decorations ty...

Table-lamp, hammered brass-sheet, nickel-plated, other finishes are offered. The additional images shows the lamp in the background of a Wiener Werkstaette showroom enlightened. Avai...

Early vase form made as a lamp base.

A beautiful variation of a table lamp from the very early period of the Wiener Werkstätte Most components according to the UL regulations, with an additional charge we will UL-list ...

This exceptional bronze table lamp, designed by the Danish sculptor Siegfried Wagner around 1900, is a rare and striking piece that seamlessly blends functionality and artistry. Man...

Just looking at this table lamp we can see that it exudes high quality design and manufacture that we have come to expect from Austrian design. From the lamp shade to the base of the...

Majorelle lamp representing a flower, around 1900 in bronze and alabaster. Not signed. Electrified and in very good condition. Measures: Diameter: 26 cm (base) 30 cm (shell) He...

Art Nouveau Brass table desk lamp with opaline glass globe. ca. 1920 2,5 meter black cotton flex with plug and switch Available with UK / US plug B22 bulb holder Priced per indivi...

Gilt bronze lamp around 1900, probably by Majorelle executed by Victor Saglier. Stamped on the foot VS. Glass paste tulip signed Daum Nancy. Lamp electrified and in perfect condition. Total height: 38.5 cm - 15.15 in width: 15cm depth: 13cm weight: 2.3kg Victor Saglier (1809 - 1894) Victor Saglier is a ceramist and goldsmith known in particular for his creations in the Art Nouveau style of the late 19th century. He produces, among other things, objects in enamelled glass, gilded metal and numerous pieces of silverware. On his death, the company was bought by his brothers who continued production until 1948. Victor Saglier's objects are signed by the "VS" brand. Known for his Art Nouveau work, Saglier made several pieces for Louis Majorelle, Daum and Émile Gallé. Its style is typically French Art Nouveau in the language of the École de Nancy. He often drew inspiration from nature for his work, the logic of which helped design both forms and settings. The sign of master goldsmith Victor Saglier is an oval-shaped three-master sailboat surrounded by the letters V and S in a rectangle. Saglier made everyday objects such as glass vases, bowls and pitchers with metal mounts, planters, tea and coffee services and candlesticks in bronze or silver-yellow metal or cast zinc. On his death, the Victor Saglier company at 12 rue d'Enghien in Paris became Saglier Frères. It was run by his brothers Eugène and André until his death in 1948. Daum (French establishment created in 1878) is a glass and crystal workshop located in Nancy. Founded by the industrialist and notary Jean Daum, the workshop was then taken over by his sons Auguste and Antonin, who ran it during the Art Nouveau period. It was not until the Universal Exhibition of 1900 that the company was at the forefront of the decorative art scene, when Daum received the prestigious Grand Prix medal. At this time, Daum glass became more complex, acid treatment was often used in the cutting, enameling and etching of a piece to produce glass masterpieces. Daum also produces applied glass elements, such as handles and ornamental motifs in naturalistic shapes. The Daum brothers quickly became big names in Art Nouveau, rivaling the famous designer Émile Gallé, and established themselves as leaders in the field of decorative glass after his death. In 1906, Daum revived glass paste, a process by which glass is transformed into paste, then it is applied to the surface of a mold and fired. This technique originates from ancient Egypt. Today, Daum is the only industrial crystal manufacturer that uses the glass paste process for its glass objects and crystal sculptures. Following the First World War, Paul Daum began to develop works in the Art Deco style, moving away from naturalistic forms and turning to linear, angular, simplified forms and geometric patterns characteristic of the movement. After the Second World War, Henri and Michel Daum became interested in the transparency of glass and pure lines. Daum collaborates with a large number of famous artists, such as Louis Majorelle, Salvador Dalí, Hilton Mac Connico, Elizabeth Garouste and Mattia Bonetti to create glass paste objects.

This is a wonderful early 20th century table lamp in sand cast brass and etched glass. Made in Europe, 1920s. Quintessentially art nouveau with its floral and natural forms, this ta...

French Figural Bronze Lamp with a Lady Reading This charming piece has a good colour, the lovely lady is sitting beneath the flower shade to light up her book The lamp is in good co...

Inspired by the patient rhythm of nature and the timeless traces of the past, Terra Noce was designed to embody a subtle strength. Its dark wooden body evokes the silent stories carr...

A great design from 1900, Adolf Loos has used this lamp in several Interiors: Turnovsky, Paul Khuner, Lit.: E. Ottillinger, Adolf Loos, Wohnkonzepte und Möbelentwürfe, Salzburg 1994,...

Late 20th Century Stiffel Art Nouveau Style large brass table lamp Measures 7 inches in diameter and stands 34" tall.

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...

The Cherry Lamp reflects a timeless design philosophy, blending the romantic charm of the past with the sophistication of modern living. Its velvet lampshade exudes vintage allure wi...

Italian Art Nouveau style able lamps in colored glass and brass, 1980s Pair of table lamps with leaded glass lampshade in light blue, green and blue. The lampshade features elliptica...

Pictured is an original fixture which was sold for 250.000 US$ at Jacques Grange Collectionneur in Paris in November 2017. We manufacture this lamp true to the original - Please cho...

An exceptionally large hand made table lamp hammered and cast from bronze with beautiful coloured chunk glass decorations. This lamp depicts an eagle of mythical features holding the...

Art Nouveau BALLOON GLASS TABLE LAMP, by Gustav Gurschner and Johann Loetz Witwe, c. 1904, the glass dome in a frosted yellow iridescent ground is crow...

Superb and rare Georges Leleu oil lamp with decorations of chestnuts and chestnut tree leaves in gilt bronze. Multicoloured cabochon in the removable hood. The dented setting of the ...

Counter Balance Desk Lamp Louis Comfort Tiffany Circa 1900 Designed by the iconic Louis Comfort Tiffany, this exceptional desk lamp is the pinnacle of Art Nouveau design. The origin...

Desk lamp in gilded spelter circa 1910. Tulip tilt adjustment possible. Tulip in opalescent glass. Electrified, B22 socket. in perfect condition. Height: 34 cm Width: 25 cm Depth: 1...

Art nouveau lamp circa 1900. Gilded bronze, alabaster shells. Electrified and in perfect condition. Height: 44 cm Shell diameter: 22 cm Weight: 4.5 kg French cabinetmaker and desig...

Ceramic Art Nouveau white relief lined cream white glazed table lamp with large stylized turquoise green leaves. Wired for EU and US use with Scandinavian plug. Fitting with switch. ...

A vintage figural table lamp depicting a young country girl feeding her birds by a fence. Rising above her are intertwining vines with leaves ending in a lovely Czechoslovakian frost...

France, circa 1910 An unusual Art Nouveau bronzed desk lamp, with artichoke shade, all supported on an oval base with foliate designs. Measures: Height 36.00cm Depth of base 17.00c...

An Art Nouveau lamp in bronze circa 1890,s. Was an original oil lamp that was converted long ago to electric. A very good job. Shade and hurricane are newer glass. Large 31 1/2" in t...

1920 designed Josef Hoffmann chased brass lamp base, different finishes available. Hand sewn Lamp Shade with a Josef Frank fabric, different patterns available. Sample book of the Wi...

Table light with opaline glass shade, handformed and sandcasted brass parts. Most components according to the UL regulations, with an additional charge we will UL-list and label our...

Rare and gorgeous eagle perfume lamp attributed to Carl Scheidig Grafenthal, Germany. Excellent condition, lamp is in working order. Size: Height ...

Jugendstil Table lamp with opal glass shade and glass sticks vienna around 1910s Brass polished and stove enameled Original opal glass shade The glass sticks are replaced ( new )

Ateliers Majorelle art nouveau lamp circa 1905. Wrought iron base with bronze applications. Alabaster shell. Electrified lamp in perfect condition. Tota...

ROYAL BONN - FRANZ ANTON MEHLEM - Art Nouveau hand painted and gilded vase - featuring branches of pink and soft purple floral blossoms with thorns to the front and back (likely Flow...