Copper Furniture

A gorgeous Arts & Crafts period hand hammered copper ashtray or catchall By Roycroft (signed with impressed orb and cross mark) USA, Early 20th Century Measures: 4.75"W x 4.25"D x...

Large White Alfredo Barbini Murano Glass "Circus Tent" Bowl w/Gold Polveri. visit BeFirstBoldy com In white/cream and copper glass with generous gold polveri, this large bowl by Ma...

Kioku - Remembrance The Kioku urn is a small palm sized urn that is formed with an organic spherical shape. This urn is very suitable for the remains of pets, or for shared remembrance among family members. Height : 3.3 in ( 8.5cm ) Width : 4 in ( 10.2cm ) Capacity : 12 oz / 350 ml Material: Clay, Grogged earthenware Available in 5 different finishes: Smoked Raku...

Hikari (光) ~ (n) light This Hikari Vase is a circular thrown vase with a wide uneven mouth and small round base. Its miniature shape exudes a sense of flow, making it easy to blend ...

Presenting a captivating and sculptural patinated bronze sundial, a testament to the artistry of Swedish sculptor Sune Rooth (1903-1981). This exceptional piece transcends mere timek...

Rare round Swedish mid century copper ceiling lamp pendant by Hans-Agne Jakobsson produced in Sweden, 1950s. In good original and working condition with patina from age and use. Di...

Inspired by the geometry of Victorian railways viaducts, the Plessey Mirror is a bold expression of rhythm and industrial elegance. Individual brass segments, each with its own uniqu...

A 17th Century baroque painting of a sideview of Jesus Christ Salvator Mundi or Saviour of the World in sfumato Saint Savior of the World, a title given to Christ on the Catholic f...

Vintage Oneida tray. Silver Plate on copper. The tray has a beautiful antique design and is 13.5" long by 9.5" wide. Oneida Company is operating sine 1848, producing high quality ta...

Ugo Trevisan, fireplace, copper, iron, stone, Italy, 1960s This Italian fireplace, designed by Ugo Trevisan, emerges as a monumental creation, characterized by its peculiar presence...

Turkish tin copper tray table on wooden folding stand Turkish Persian Mameluke style tinned copper tray table. Very nice unusual Asian dark bron...

One of a kind and all hand-crafted, good size antique box by Alfred Daguet (1875-1942). Alfred Daguet was a French craftsman/metalsmith, active around the early 1900s and who specia...

Executed in teak wood, copper and metal, each lamp needs 1 x E27 / E26 Edison screw fit bulb, is wired, in working condition and runs both on 110 / 230 volt. Our lamps are checked...

Quality handmade solid copper lantern with four 60/watt lights. Electrified and ready to use, Beautiful oxidization patina. Suitable for wet locations or indoor Chain and canopy inc...

A highly important Japanese export lacquer cabinet with depiction of the Dutch East India Company tradepost Deshima and the annual Dutch delegation on its way to the Shogun in Edo Edo period, circa 1660-1680 H. 88 x W. 100.5 x D. 54 cm This cabinet includes a later European japanned stand, but also a modern powder-coated steel frame. The latter can be designed and added to your specific needs. The sides and front of the rectangular two-door cabinet are embellished in gold and silver hiramaki-e and takamaki-e on a black roiro lacquer ground with a continuous design. The two doors depict a long procession of numerous figures travelling on foot and horseback along buildings and a pagoda into a mountainous landscape. This is the annual court journey, Hofreis, of the Dutch from Nagasaki to the Shogun’s court in Edo. Three horseback riders are dressed as Dutch merchants and a fourth figure, probably het Opperhoofd, is seen inside a palanquin, norimon. Just about to cross the bridge, two men are carrying a cabinet like the present one. Many Japanese figures on either side of the procession are engaged in various activities; some play musical instruments on board of small boats, others are fishing; figures inside buildings are depicted playing go, and farmers are tending to their rice paddocks. The upper part of the right door shows a large mansion, probably the local daimyo’s castle, with men kneeling before a man in the central courtyard. The court journey fits in with the foreign policy of the shogunate which accorded a role to the VOC alongside China, Korea, and the Ryukyu Islands who also had to pay tribute. However, the VOC employees were traders, having low status in Japan’s social hierarchy, and they were received with less deference than were the state embassies from Korea and the Ryukyu Islands. Nevertheless, the contacts with the Dutch were a welcome source of information to the Shogun about Europe and European science and technology. The left side of the cabinet depicts, in mirror image, a rare view of the artificial fan-shaped Deshima Island, the trading post for the Dutch in Japan. The island, where the Dutch flag flies, is surrounded by small Japanese boats and an anchored three-masted fluyt (cargo ship), flying Dutch flags, with on the stern the VOC monogram. On the bottom right a busy street of Nagasaki is shown, bordered by shops and leading up to the stone bridge. On the island the trees are beautifully painted, two cows can be seen, and the flagpole, all in very fine detail. Dutchmen and enslaved Malay are visible outside the buildings and two Japanese figures, probably guards, sit in a small hut in the centre. A maximum of fifteen to twenty Dutchmen lived on the island at any time and soldiers or women were not allowed. Restrictions on Deshima were tight, and the merchants were only allowed to leave the island by special permission. The Opperhoofd had to be replaced every year, and each new Opperhoofd had to make a court journey to pay tribute, present gifts, and to obtain permission to Margaret Barclay eep on trading. In the distance, many birds fly above the hills and a four-story pagoda can be seen. The right side of the cabinet is painted with other horse riders and their retinue journeying through mountains. The pair of doors to the front open to reveal ten rectangular drawers. The drawers are decorated with scenes of birds in flight and landscapes with trees and plants. The reverse of the left door with two thatched buildings, one with a ladder, underneath a camelia tree with large blooms; the right door with a three-story pagoda nestled among trees and both doors with a flying phoenix, ho-oo bird. The cabinet, with elaborately engraved gilt copper mounts, hinges, lock plates and brass handles, is raised on an 18th-century English japanned wood stand. A pair of large cabinets...

A mesmerizing sight to behold as soon as the rainbow-like patinas catch your eye. The Oval Vase is a tall, teardrop-shaped design best for adding a touch of elegance and intrigue to ...

Lofty Tibetan Dungchen ceremonial long horn crafted with copper and brass in a dramatic telescoping sculptural form. Retracted height: 25".

Basically everything you could possibly need for your kitchen, this 11-pieces cookware set contains the following items: 1.3 quart cocotte with lid 4.4 q...

Circa 1920s ship's masthead lantern, English. A fine example of copper with brass fittings & heavy molded clear glass panel. Retains the likely original oil lmap on copper sliding pa...

A period English Arts & Crafts copper fire insert with handcrafted stylized floral decoration and hand riveted details throughout. Internal measurements: Height, 27inches Width,...

A rare, unusual, and highly decorative antique Moroccan brass, copper and bronze kettle warming stand - brazier (today it would make for fascinating cand...

An Arts and Crafts walnut Hall stand by Shapland and Petter with a copper panel depicting a mythical creature to the top, leaf cut-outs to the centre with circular ball uprights to e...

7 Roycroft Arts & Crafts Copper Service Plates, Roycroft Inn at East Aurora, NY USA, circa 1905 A rare and remarkable set of seven Roycroft Arts & Crafts copper service plates, orig...

Antique large George III quality copper water jug Having a quality antique George III large shaped water jug with the original brass shaped handle ...

‎Produced by Sähköliikkeiden Oy, this pair stands as evidence to the era's minimalist aesthetic. These wall lamps are not only embodiment’s of simplicity and elegance, showcasing a d...

These magnificent lamps are shipped as photographed and described in the narrative. They are custom built using materials of the highest quality and are shipped complete with the new shades, harps and finials shown in the photos. A majestic pair of vintage Asian Cloisonne vessels...

Mid-20th century Modern foldable wood low table/desk with leather-covered surface designed by Jean-Michel Frank for Comte S.A., Argentina By: Comte S.A., Jean-Michel Frank Material:...

Artistically made vintage hand crafted solid brass and copper lantern with one 60/watt light , seeded acrylic glass like at all side , with beautiful patina. Great decorative pair o...

This One-of-a-kind Arts and Crafts Style Light was made of hand-hammered copper and forged iron. The art/slag glass has been replaced. It has been wired in the US. The light would...

EL collection of lighting is inspired by the geometric works of the great Suprematist artists El Lissitzky and Kazimir Malevich. Suprematism is a modernist movement in the art of the...

1960's mid-century modern Carl Sorensen design bronze bowl with lid, in vintage original condition with minor wear and patina. This beautiful piece is minimalist and intriguing. Th...

A rare high quality large antique Japanese, late Meiji period, Silver wire and enamel over copper vase. The amphora shaped vase has a narrow fluted neck. The ware is enameled with a ...

Oil on Copper — "Saint Mary of Egypt, Penitent," Spanish or Flemish School, 17th Century A captivating oil on copper painting depicting Saint Mary of Egypt, dating from the 17th cen...

A high quality Japanese, Meiji era, cloisonne enamel and silver wire vase. The vase has an amphora shaped body and a narrow neck. The ware is enameled with a polychrome image of blos...

Classic Art Deco Brass & Copper "Guardsman" Table / desk Lamp by Faries,,, wonderful original condition.

Daniël d’Haeseleer, born on 4 December 1947 in Belgium. He created many sculptures using ceramic and copper in some ti’s a brutalist style. Artwork is signed at the front.

Plopp Mini Stool in Polished Copper 'Limited Edition' by Zieta Dimensions: D 25 x H 38 cm Material: Polished copper. About "Plopp" stool by Zieta, g...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning original Arts & Crafts Shapland & Petter Hall stand with hand hammered Copper panels over a Walnut frame with inset sheild mirror Please note the delivery fee listed is just a guide, it covers within the M25 only for the UK and local Europe only for international, if you would like an accurate quote please send me your postcode and I’ll provide you with the exact price A very good looking well made and decorative hat glove coat and scarf rack, this one is rare as it has the central mirror and its an earlier than usual example circa 1900 Made by Shapland & Petter, a full blub on their life and works can be found below In terms of the condition it is straight and solid, the piece sits well in any setting and looks decorative and very English country house, we have cleaned waxed and polished the timber, there is one hook slightly bent, otherwise its in fine order Dimensions Height:- 205cm Width:- 113cm Depth:- 40cm Please note all measurements are taken at the widest point, if you would like any additional or specific measurements please ask Shapland and Petter of Barnstaple Introduction This Barnstaple based company manufactured some of the finest pieces of furniture in Arts and Crafts style but very little has been written about the company or the pieces they produced. It a great shame that whilst Shapland and Petter pieces have been illustrated in books and auction catalogues they are invariably attributed to other makers such as Liberty and Co in London or Wylie and Lochhead in Glasgow. With this feature, we intend to inspire a more thorough appreciation of the work of the company; readers are invited to help with the task by sending photographs and information. Collectors and auction houses are now showing significantly more interest in Shapland and Petter pieces. The company, based in Barnstaple, England produced a very wide range of furniture in several different styles including many pieces in period reproduction and municipal style for town halls and commercial premises alongside their superb Arts and Crafts range Distinctive features of their superb Arts and Crafts style are the use of heart shaped piercing, geometric shapes with angled arches and the application of repousse copper panels. Decoration with marquetry, metal inlay, mounting of ceramic and enamel cabochons were techniques which they mastered with a combination of state of the art technology and traditional craftsmanship. Most distinctively, the pieces were extremely well made, with care and very best quality materials The growing interest in Shapland and Petter has raised many questions about the origins of the firm, and the sources of influence on their designs, some of which resemble designs by Ashbee, Ballie Scott, Voysey and Talwin Morris. Links have been assumed with Liberty and Co with the supposition Shapland and Petter worked on commissions for Liberty. There appears to be little evidence to support many of the assumptions which have developed around the company and this article is intended to help to start the discussion and to stimulate research The History of Shapland and Petter The Museum of North Devon in Barnstaple have an archive of Shapland and Petter which includes some company records and a small display of furniture and related items. The following text gives history of the company and is reproduced from the display boards in the museum with kind permission of North Devon Museums For over 100 years the Shapland and Petter factory has stood at the end of Barnstaple Long Bridge. Manufacturers of doors, door sets, and custom wood interiors, NT Shapland and Petter Ltd are still one of the towns largest employers. The company was established by Henry Shapland (b. 1823), a cabinet maker by trade. He embarked on a voyage to America in 1848, where he was inspired by an invention for a wave-moulding machine. He was only allowed to see it if he left the country immediately. Returning home with only rough notes, he reproduced the machine and in 1854 began a cabinet making business in one room at the Raleigh woolen mill in Pilton. Later the firm moved to Bear Street in Barnstaple. Henry Petter was an accountant who entered into partnership with Mr Shapland. The business progressed and in 1864 they bought the Raleigh Factory where Shapland first began his work. Success was rapid, but in 1888 the building burnt down. Immediately work began on a bigger and better factory - their present site by the Long Bridge - which included many modern inventions The two Henrys died within two years of each other - Petter in 1907 and Shapland in 1909. In 1924 Shapland and Petter merged with the Barnstaple Cabinet Company, producing North Devon's biggest industry. During the First World War Shapland and Petter's skilled craftsmen turned their hands to wooden propellers for the aircraft of the Royal Flying Corps. After the war, public tastes changed, and hand carved furniture was too expensive for many. Shapland and Petter's output now included elegant veneered pieces with smooth Art Deco lines. The company fitted out Pullman carriages and ocean liners and made hand-carved church furniture. The famous England Rugby Captain W. W. Wakefield was appointed Company Director in 1927. Throughout the depression of the late 1920's and early 1930's the company still managed to produce high quality work Furniture manufacturing continued until the outbreak of the Second World War in 1939. Many workers left to fight, while the factory worked on Air Ministry contracts for ammunition boxes. After the war came radio cabinets and laboratory and contract furniture, until eventually large quantities of doors were being produced for hospitals, hotels, schools, offices and other buildings. Examples of Shapland and Petter's work can be seen all over North Devon. In Barnstaple, the shop front at 109 High Street is a good example, and the interior of the old Lloyd's Bank, now Chamber's Brasserie, was also Shapland's work. Examples of carving by Shapland's men can be seen in two chairs and a reading desk in Barnstaple Parish Church As cabinet makers, Shapland and Petter employed up to 350 people at a time. There were designers, carvers, cabinet makers, machinists, polishers, and labourers. The company was one of the first to install American labour-saving devices and was keen to adopt the most up-to-date machinery The fire of 1888 at the Raleigh Cabinet Works was a huge loss for the company. However, it resulted in a new factory which was altogether more modern and better equipped. The new building by the river was arranged into blocks. The production line began with the saw mills and ended with the finishing rooms. There was modern machinery in every department - one of their saws was the first of its kind in Britain. Water sprinklers and electric lights were a necessity - this factory would not burn down As well as the furniture production, Shapland and Petter imported timber by sea and rail. The new factory 's facilities were exceptional Shapland and Petter were renowned for excellent design and workmanship. The carvers were highly skilled, serving seven year apprenticeships and attending classes at the Barnstaple School of Art. Ornately carved furniture required up to a hundred tools The factory produced made to order woodwork for banks, hotels, and shops; mantelpieces, paneling and staircases. They fitted out Pullman railway carriages, the London Guildhall, and Edgar Wallace 's dining room as well as houses like Tapeley Park in North Devon Much of the work involved intricate leaded glass panels, or inlaid fruitwood designs, like the white bedroom suite shown in the exhibition here. This type of work is typical of Art Nouveau 1895 to 1910, inspired by the fluid shapes of plants and flowers Many pieces were made from standard designs. There were hundreds to choose from, and a selection could be seen in local and London showrooms and in catalogues. Although mass-produced, this furniture was well-made by skilled technicians and modern machinery Arts and Crafts designs of Shapland and Petter The development of the Arts and Crafts Movement in the South West of England has not been written up in any detail though we do know of the Art Potters of Barnstaple from the excellent book of this name by Audrey Edgeler. Less is known of the Barnstaple Guild of Metal Workers. We know of the Bath Cabinet Makers and the Newlyn School of Industrial Art in Cornwall but very little has been written about the furniture makers of Barnstaple in Devon The establishment of a large cabinet making firm in Barnstaple is not remarkable in itself; there were several cabinet makers in the area. What is interesting is that this particular Barnstaple firm should become a leading maker of Arts and Crafts furniture, copying the styles of the leading Architect designers and creating their own unique style Critics may point out that as their work was commercially driven and reliant upon machines it therefore does not really qualify as Arts and Crafts. Whilst the company was highly innovative in machine technology, they also employed many craftsmen who worked with their hands in woodcarving, marquetry work, design and application of decorative copperwork and other artistic embellishment in the true Arts and Crafts tradition. Anyone who has experience of Shapland and Petter workmanship knows the level of craftsmanship invested in each piece Sources of inspiration There appears to be no evidence to link any known architect, artist or designer to the Shapland and Petter company. Their designs appear to have been created solely by their own internal design staff none of whom appear to have published or registered their work in any other context C. R. Ashbee who established the Guild of Handicrafts visited Barnstaple in 1893 and provided a twelve week course on the design and decoration of furniture. It is presumed that this visit was hosted by Shapland and Petter, and that their own staff and those from other local furniture makers attended the course. Ashbee appears to have been unimpressed by the commercial attitudes he encountered and apparently disappointed at the lack of interest in his (high minded) lectures. What is interesting however is the similarity between some of his designs and those used by Shapland and Petter, particularly in respect to inlaid floral design. Perhaps he left a lasting influence which has not yet been verified There has been some speculation on the influence of Scottish designers, particularly because of the use of Glasgow rose designs which are typical of the Glasgow School, and particularly of Talwin Morris. There are also several designs which use similar motifs to those used by Baillie Scott, the use of two doves in flight for example. More research is needed to trace possible links here. One thing that is clear is that there was a great deal of copying and selling designs in the furniture industry at the time and a nineteenth century survey on the furniture trade recorded that '' Barnstaple pays the best prices for designs ..'' Collaboration with other companies There is evidence that Shapland and Petter organised a wide network of companies to retail their products and hence many pieces have the labels of retail furnishers added. Little is known of their marketing in Europe and America but it may be that many Arts and Crafts pieces were sold abroad. Shapland and Petter had excellent access to rail and shipping lines for importing timber and presumably for exporting their finished products The extent of their collaboration with other companies is yet to be ascertained but there is evidence that their suppliers included the Della Robbia Pottery, Pilkingtons Tile...

Hoseki ( 宝石 ) ~ (n) gem The Hoseki Vase is named “gem” in Japanese for its slightly angular shape. Wide-mouthed with a textured finish and soft edges, it adds a classy touch to any ...

Hoseki (宝石) ~ (n) gem The Hoseki Vase is named “gem” in Japanese for its slightly angular shape. Wide-mouthed with a textured finish and soft edges, it adds a classy touch to any dé...

Copper and alabaster Arts & Crafts chandelier with original twirled copper 'chain' & original canopy. With early 20th century lighting being one of our specialities, finding this rare and extraordinary pendant more than made our day. The combination of the striking alabaster shade and the uniquely designed patinated copper gallery with embossed organic patterns, make it an absolute joy to own and look at. The good condition alabaster shade comes with a large number of natural veins and patches and they are among the most colorful you ever saw. But what makes this Arts and Crafts pendant truly stand out from anything you ever saw are the four extra 'windows' in the copper frame that each has its own little alabaster bowl shade. And with each of those four shades having its own socket, the light and the form that this creates has an aesthetical beauty that you simply don't find anywhere. This too makes this six-light Arts and Crafts pendant extra special and an absolut joy to own and to look at. The unique and organic design of the pure Arts & Crafts body and its matching large canopy will never fail to impress, also, because of its good overal condition. The original and superb condition, twirled copper down-rods are like the icing on the cake of this unique pendant and this antique light fixture will bring the kind of pure class and beauty that you don't find anymore in this day and age. Thanks to the hook inside the copper canopy, mounting this stylish and rare ceiling lamp is child's play. Mind you, this all handcrafted fixture from the earliest years of the 1900s will arrive rewired to the highest standard (with black wire) for safe and immediate usage in the country where it will go to so it will definitely be ready for you to use and enjoy. Our fair price for this rare Arts and Crafts ceiling light...

A pair of traditional gold copper Cloisonné vases made in China in the 1980's, each designed all around depicting floral motifs and butterflies, ...

A vintage Japanese urn shaped enamel over copper vase. The exterior of the vase is adorned with hand enameled panels depicting butterflies, cranes...

Pair of Signed Jonathan Bonner Alligator Candleholder Delivery to Manhattan available- please contact for details

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...

Brutalist Slate and Stone Coffee Table with Copper Inlay In the Style of Paul Kingma A striking 1980s Brutalist slate coffee table with ...

The PH pendant, model 3½-3, is a limited edition designed by Poul Henningsen and produced by Louis Poulsen. This special edition was released to commemorate...

Horse Sculpture Giovanni Gentiletti Pesaro, Italy, 1970 Embossed copper and rustic wood base "Gentiletti '70" engraved at the base Stunning realistic sculpture in generous dimension...

Hofu - ( 豊富 ) Abundance The Hofu vase is a decorative wide lipped vessel. The organic curves and traditional silhouette gives it a modest but impactful pre...

A gorgeous Arts & Crafts period charger plate or tray By Roycroft (signed with impressed orb and cross mark) USA, Early 20th Century Measures: 8.5"W x 8.5"D x 0.25"H. Good origin...

Four-sided auxiliary bar cabinet in solid wood veneered with mahogany and maple on the inside. Base in stained beech and molding in maple. Four drawers on one side and a sliding bar ...

The European Art Deco movement of the 1930s was a beacon of innovation and style, and one of its timeless creations was this copper and wood table lamp. This exquisite piece of funct...

18th century Dutch log basket. The firewood basket is made of polished copper and a polished brass rim on top and has a wrought iron handle. Also called 'aker'. Used to draw water fr...

Our standard enamel colors are shown in the final images--there is no additional lead time or cost for these colors. Introducing the model 320, a chic, simple brass chandelier with spun aluminium orbs shown in our 'Sunrise' enamel by Blueprint Lighting, 2017. This design is an Italian Modern classic with characteristics of both Mid-Century Modernism and Contemporary design. It offers a sculptural and architectural element as the focal point of your space. The perfect statement piece for any sophisticated interior! Drop height as shown is 28", but this can easily be customized for your space at no additional charge. Dimensions of the lamp body are 34" diameter and 5" height. May be fully customized: drop height, scale, enamel color, metal finish--you name it and we can do it! This piece may use any E12 candelabra base bulb up to 60 watts (or use LED). Bulbs are not included. UL-listed Whether furnishing a contemporary Soho loft or stylish post-war Park Avenue penthouse, an artistic central park town home or your eccentric Brooklyn brownstone, our team is happy to help. We ship anywhere, so we can also assist you with that retro Palm Springs...

An antique Japanese late Meiji era decorative enamel over copper plate or charger. The interior of the plate is adorned with a polychrome design of sparrows and frogs in blossoming f...

Beautiful antique handheld mirror made of bronze. Facated mirror with signs of age and use. Suspension on the back.

Our little tribute to the mercurial moon of Jupiter, IO. A brushed copper base holds the verdigris copper sphere, paying homage to the whirls and whorls found on the volatile lunar ...

Hofu - ( 豊富 ) Abundance The Hofu vase is a decorative wide lipped vessel. The organic curves and traditional silhouette gives it a modest but impactful pre...

Natsu ( 夏 ) - (n) summer Our Natsu vase is shaped almost like a soda bottle, evoking memories of summertime when it’s hot and all you would love to drink is ice-cold lemonade. This...

Designed by Curtis Jeré - a collective pseudonym for artists Curtis Freiler and Jerry Fels - this signed “C. Jeré” wall sculpture was produced by their company, Artisan House, in 197...