Copper Furniture

A large and remarkable 4' long early PA American scrollwork bannerette weathervane / wind directional. Pennsylvania, first half of the 19th century, cut sheet metal, copper tubing,...

Antique French big pot which can be used as a planter or jardinière. Copper If you like it, please see also LU4476227879132 19th century planter copper jardini...

Old and Large Hand Hammered Footed Copper Bucket/Stockpot with 3 Brass Claw Feet, CO#003 Made in the Republic of Ireland, 1950s. 11.25" Dia, 11.25" to th...

Carl Deffner. Esslingen. Germany. An Arts & Crafts copper chamber stick candle holder with a single flower bud made up of four leaves with a wavy base and double circular handle with...

Pair of Henningsen 'PH Wall' Brown Patinated Outdoor Lamps for Louis Poulsen The 'PH Wall' is part of the revolutionary three-shade system developed by Poul H...

Large antique 19th century copper pan having a quality circular shaped copper pan with the original brass carrying handles. D. 1860

The Partenope lamp is an iconic work by Neapolitan designer and architect Riccardo Dalisi. This wall lamp stands out for its sculptural design and handcrafted approach. Its shape ev...

Antique Chinese cloisonné enamel round box with lid depicting floral patterns. A white base tone and colorful floral all around, from the 19th century.

Enormous late 18th to early 19th century Georgian copper 5 gallon haystack jug or pitcher, massive tapered body with a large handle. Copper haystack measures...

A striking vintage toucan sculpture, handcrafted in Mexico during the 1970s, in the distinctive style of Sergio Bustamante. This life-size bird is beautifully detailed in a mix of co...

A beautifully crafted, wall-mounted train rack from the historic New South Wales Railway (NSWR), made of cast brass and copper with woven wire mesh. Featuring elegant Art Nouveau styling and heavy-duty construction, this antique rack was originally used for luggage storage on trains, designed to securely hold belongings during travel.Perfect for contemporary use, it serves as a stylish hallway coat rack, towel holder, or display shelf. The solid brass frame and sturdy mesh can support substantial weight, while the slight upward angle ensures items stay in place, making it both functional and eye-catching in any space.The rack is stamped with the NSWR logo, a hallmark of Australia's first railway system.New South Wales railways date from 10 December 1831 when the Australian Agricultural Company officially opened Australia's first railway, located at the intersection of Brown & Church Streets, Newcastle, New South Wales in Australia. * Solid Cast Copper and Brass Railway Rack * Measures 29.5 Inches Wide and 13 Inches Tall (Overall) * 11 Inch Projection Style Art Deco, Art Nouveau, Victorian, Industrial, Aesthetic Movement. Place of Origin Australia. Date of Manufacture 20th century. Materials and Techniques Brass, Copper, Metalwork. Condition Good. Wear consistent with age and use. Cast Brass, Brass Rod, and Brass Wire Construction. Bolts to Wall. Luggage Baggage Shelf, Rack, Antique Luggage Rack, Brass Luggage Rack, Early 20th Century Train Luggage Rack...

A British cantilever wall lamp made from copper tube and a spun and mirror polished copper conical shade. Reach of the cantilever can be specif...

Antique Large Heavy Solid Hammered Lidded Copper Vessel Unusual antique, nice with an attractive shape, and the original lid Forged iron handles with ear shapes on each side 16" Dia,...

Large vintage industrial pendant light in thick copper and brass. Currently wire for European usage, but pendant can be rewired ...

A pair of French hexagonal three-light copper lanterns from the 20th century with tapered lines, glass panels and petite spheres. Introducing a captivating pair of French hexagonal c...

British army tilting festoon lamp shade fitted to a copper and brass cantilever wall fitting to create a bespoke wall light. Professionally restored and converted by hand in UK by Loomlight to modern lighting standards, ready for contemporary interiors. Available in a range of colors upon request. The cantilever dimensions can be made to order. Measures: Shade diameter: 23cm Wall fixing diameter: 10cm Reach from wall: 44cm Bulb: E26 / E27 100v - 220v Tungsten Filament Weight: 3.5kg Origin: UK Supplied with a filament bulb. The shade tilts in all directions by means of a ball joint connector to allow the light to be focused into a chosen area. This makes them great for lighting pictures on walls...

Vintage Dirk Van Erp Style Arts & Crafts Copper & Mica Table Lamp 20thC Measures - 21.5"H x 16.75"W x 16.75"D A vintage Arts & Crafts table lamp in the styl...

Italian copper and brass brazier Mid-Century, 1950s Found in a country villa in the Sicilian hinterland. Good condition.

Very large circular plaque after the design featured in the major motion picture, Alexander, measuring 48 inches across and weighing 59 lbs. Cold-cast in copper, it features wonderf...

This striking Brutalist coffee table, crafted in Belgium during the 1970s, features a beautifully hand-worked copper top resting on a sculptural solid wood base. Its bold yet minimal...

A four-doored sideboard in hand-patinated brass. Each door operates on push-to-open, soft-close hinges. Handcrafted in the North to order, this sideboard can be commissioned in besp...

Peter Behrens Luzette pendant lamp from 1910-1920, frame in old copper and opaline/satined glass. Beautiful and perfect original co...

2 rare Rupert Nikoll table lamp vienna around 1950s Polished and stove enameled The fabric shade is replaced ( new ) Priced and sold per piece

Poul Henningsen & Louis Poulsen - Mid-Century Modern Design A beautiful 5/ 3 'Millionaire' table lamp by Poul Henningsen (1894-1967). The lamp is rare due to its size and age - ...

Commissioned by a special client as the perfect stage for their chess battles, this table is a showcase of NOVOCASTRIAN’s creative ability, of almost 10 years of experimentation, ref...

Superb 1933, Brass banded, oak barrels. This beautiful wine or cider jugs were created by Gérard Lafitte, selected as Meilleur Ouvrier de France (one of the best workers in France)...

This exceptionally rare and large 'Kono' table, which works excellent as either a dining table or a desk, by Lella Vignelli and Massimo Vignelli was designed in 1984 and this example created in the mid-to-late 1980s by Casigliani in Pisa, Italy. This rare example of the 'Kono' design features a monumental Black Granite slab for the top, two thick slabs of Imperial Red Granite which connect together to form one of the bases, and the Vignellis signature Patinated Copper cone which forms the other base. The 'Kono' design was normally made as coffee tables so it is quite rare to find examples made scaled up in dining table size. In addition, typical Kono tables were made with glass tops and a single slab granite base. This example however, the Vignellis selected Black Granite instead of the typical glass tops. Also, rather than using a rectangular single-slab base, this example features an L-shaped base constructed with two slabs that connect together along one angled edge. It still employs the cone-shaped patinated copper base typical of Kono tables, however this example is much larger of course than cocktail table versions. The Vignelli Center for Design Studies, which houses the artists’ archive, confirmed this table to be one of two known drawings by the Vignellis (a copy of the Vignelli sketch, which they provided, is included in the photo gallery) though it is unknown if the other table was ever produced, making this table potentially an important one-of-a-kind. The Black Granite top in lower light settings is dark, deep and mysterious. With direct sunlight its luminosity is intense - see the photo gallery for images of the table in direct sunlight from our skylight above. It glows, shines and shimmers with incredible vibrancy, similar to diamonds - to see it in person is quite exquisite and remarkable. While we only had it set up under our skylight for a couple hours, I would describe the experience as recharging - I felt like I had just spent a couple hours meditating, this would be incredible to wake up to every day before leaving to work. The Vignellis described the 'Kono' table as: “This design exploits the relationship between geometrical figures and material finishes." Over the course of their four-decade-long design practice, Lella and Massimo Vignelli collaborated on projects that ranged from product design and brand identity to interior and furniture design. Whether designing New York City’s subway map...

Sinuous floor lamp in cast copper with Murano scavo glass bowl shaped shade designed by Enzo Ciampalini and manufactured by Lamp International,...

A set of five vintage Indonesian copper Batik textile printing blocks from the mid 20th century, with floral patterns. We have an unlimited stock availabl...

An exceptional antique Mission or Arts & Crafts writing desk or library table In the manner of Stickley Brothers By Imperial Furniture Co. USA, Circa 1910 Solid quarter sawn oak...

Set of Soft Copper Pendants Light designed by Jo Hammerborg for Fog & Mørup in the 1960s. * Set (2) of copper lacqured pendants * Designer: Jo Hammerborg * Model: Ultra * Manufactu...

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

An extra large and custom-made Mid-Century Modern pendant light fixture by Austrian lighting maker J.T. Kalmar, manufactured in 1977. The original invoice from Kalmar from 1977 is av...

Italian Rococo-style (19th Century) carved giltwood dressing table / vanity mirror with a carved base. Condition: Good; Wear consistent with age and use

A 9-inch copper saucepan with an iron handle marked Metaux Ouvres, France. A must for your French-inspired kitchen. Made in the first half of the 20th century, this saucepan is in ex...

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 good Arts & Crafts copper fender with Ruskin Jewels.        

Midcentury Harry Bertoia Sonambient sculpture featuring seven black monel "cat-tail" tops silvered to beryllium. Copper rods silvered to brass base. In fin...

Patinated and nice pair of Paavo Tynell wall lamp made in cooper and produced by TAITO oy in the 1940s. The lamps are both made with a solid cooper painated shade and has an round op...

Enamel plaque by Mexican artist Miguel Pineda. This abstract still life is signed on the front and it retains an original gallery tag on the back. Hailing from Mexico City, Pineda studied under artist Maggie Howe...

By the 18th century, opium use had become as central to Chinese social life as taking tea or smoking tobacco, fostering a subculture rich with its own customs, traditions, and exquis...

Coffee designed in the 1960s by Bernhard Rohne, this table features an incredibly intricate surface made with innovative etching and patination techniques on a copper plate with his ...

A German glass and nickel light fixture with nice patina designed by Peter Behrens, manufactured circa 1910. The lamp shade is made of two glasses: an opaline white glass at the top ...

Copper vessels of this nature were once primitively made in Europe and Middle Eastern areas of the world. This piece is a stunning example of the stout, but primitive craftsmanship t...

A pair of pine, white-lacquered metal and copper flush mounts designed and produced in Sweden, c. 1970s. Overall Dimensions (inches): 5.5"H x 8.25"W x 8.25"D Bulb specification: E-...

Bauhaus style copper lamp in very good original condition with 6 x E27 / Model A fittings. Absolute stunning early modern lighting. To be on the safe side, the lamp should be checked...

This organic modern ceramic side table is handmade for Andrew Kornat Designs by a wonderful ceramicist in the heart of historic Florence Italy which is famed for its potteries and it...

Splendid 17th-century Italian painting by unknown artist, but certainly a follower of Caravaggio, relying on style and drawing. The painting has a very beautiful gilded wooden frame, with a subtle greek with spheres and an overlying rectangular frame with sinuous flowers on each corner, very elegant and beautiful. The painting depicts one of the most depicted religious scenes ever, the scourging of Christ, and is entirely done in oil on copper. The scourging of Jesus is an episode narrated in the Gospels (Mk15:15-16; Mt27:26-27; Lk23:16-26; Jn19:1-17[1]). Scourging is a flogging, particularly bloody, by means of sticks, rods or cat-o-nine-tails, the latter instrument consisting, in the Roman typology, of a short stick to which were secured several strings ending in metal claws, leads and bone splinters that caused tremendous lacerations and fractures to the tortured person. Chains are used in this scene, both to immobilize Jesus Christ and to flog him, as we can see in the upper right hand of the scourger. According to some personal research, it turned out that the actual scourging of Christ was mostly depicted at the column, while this Christ is on the ground, so presumably Christ here is scourged during the Way of the Cross at one of those stages where he fell. The painting has a very dark coloring, which is why this painting is believed to faithfully follow Caravaggio's style of dry, authoritarian brushstrokes. The painting shows a figure agonizing on the ground that continues to receive beatings and floggings of all kinds, representing Christ; his face is crucified in a loquacious expression of pain, he turns his eyes to heaven as if to invoke God, but at the same time those same eyes admonish the wickedness and arrogance inherent in humanity. Christ has one hand resting on the ground in the act of holding himself, while the other takes a completely unnatural stance against the barren ground. His body appears hardened to wanting to parry the blows, his legs are curled up on his knees as he takes kicks from the soldier above him. Christ is depicted pinned down from the neck with a very large and strong black iron bolt held by the other soldier. The soldier on the right in the foreground wears a one-shoulder tunic with an orange tunic and blue pants. On his feet he wears gray shoes, at his waist he has a belt with an iron helmet...

Oversized hand-hammered copper cauldron with iron handles. France, early 20th century. This handcrafted copper cauldron has a terrific aged patina. It has an iron rim on the top and ...

A set of 5 graduated copper saucepans with iron handles. A beautiful set of 5 vintage copper saucepans, a must for your French-inspired kitchen. Made in the first half of the 20th ce...

This antique Chinese water pipe, from the late 19th century and originating from Canton, China. This water pipe designed for smoking tobacco, often mistaken for an opium pipe due to ...

Hackney horse weathervane attributed to E. G. Washburn & Co. Molded hollow body copper with natural verdigris surface. American, circa 1900. H 24-1/2 in. L 22-1/2 in. 

A nice antique cigar box, made of oak, decorated with bronze and copper mounts. Central plaque depicting horses. Lifting system. Space for 30 cig...

Vintage Enamel on Copper image of Birds - signed new frameless Swiss Corner clip hanging system ready to hang.

1900s Jugendstil golden and silver brass jewelry casket with blue velvet-lined interior by Erhard & Söhne, Germany By: Erhard & Söhne Material: brass, copper, metal, velvet, zinc Te...

Copper Banker's Desk Lamp, with an adjustable pivoting dark green shade, England 1930's. Nice patina.

A good antique Zanzibar, Omani dowry chest, circa 1880. The chest having a hinged lid clad in decorated copper repousse work, the front and sides having similar decoration, the insi...

A gorgeous Arts & Crafts period charger plate or tray By Roycroft (signed with impressed orb and cross mark) USA, Early 20th Century Measures: 10"W x 10"D x 0.75"H. Good original...

Hans-Agne Jakobsson 'Tratten' polished copper outdoor sconce. An exclusive made for U.S. and UL listed authorized re-edition of the classic Swedi...

A gorgeous antique French hand forged hammered copper cache pot or jardiniere from Avignon, France, circa 1890. It has been professionally polished and lacquered. This beautiful piec...