Art Nouveau Furniture

This Medusa head was marked J. Müllner, dated 1918 and stamped ‘Österr. Gesellsch. Z. Förderung D. Medaillenkunst und Kleinplastik’, with the stamp GMK 16 and Eisengiesserei A. G. Wi...

Art Nouveau Stained Glass Lantern, France, Circa 1890–1900 – Vintage Iron & Stained Glass Lighting This magnificent French Art Nouveau stain...

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...

Beautiful small Loetz Witwe glass vase out of the famous workshops in Klostermuehle/ Bohemia from around 1902. The artfully formed vase with its...

Tiffany Studios By Louis Comfort Tiffany Art Nouveau Blue Favrile Floriform Glass Vase. A classic and must for the most discerning Tiffany glass collector. This vase has the rarer sh...

An exceptional and rare Bohemian art nouveau Phenomen Genre 2/484 (also known as Medici) pattern Loetz vase dating from around 1902. This beautiful vase stands on a rounded spread fo...

FRANZ VON STUCK (German, 1863-1928) There is a tension between the Apollonian and Dionysian in Stuck’s work. Nietzsche’s contemporary and a kindred spirit, Stuck valiantly searched f...

73829 antique Persian Mashhad rug with Renaissance Regency, 13'06 x 21'00. With naturalistic architectural elements and an opulent color scheme, this hand-knotted wool antique antique Persian Mashhad palace size rug embodies a combination of Renaissance Regency and Tudor style. The all-over floral pattern is composed of elegant palmettes, leafy tendrils, acanthus scrolls, curved sickle leaves, and floral sprays connected by an arabesque flow of undulating vines. A well-balanced proportion of florals and all-over curvilinear design delivers an essence of tranquility forms creating a lovely rhythmic effect. Gentle waves of abrash sweep across the field, enhancing the depth to the elaborate blossoms and swirling vinery highlighting the time-softened colors and its intimate patina. With its commitment to tradition and heart full of whimsy, this antique Persian Mahhad rug can enliven nearly any opulent period-interior with color and vitality. Perfect for a great room, wine cellar, executive suite, conservatory, state room, royal suite, hotel lobby, music room, living room, dining room, drawing room, private library, golf locker room, billiards room, clubhouse, large home office, master retreat, private Chambers, studio, study, loft, lounge, entertainment parlor, trophy room, large bedroom, or formal sitting room. Well-suited for a wide range of interior styles: Dutch Renaissance, Arabian, Islamic, Louis XIV, Louis XI, Louis XV, Rococo, Chippendale, Regal, Aubusson, Baroque, Renaissance, Old World, Traditional, Eclectic, European, and Savonnerie inspired interiors with Gobelins or Beauvais style. Whether in a formal setting with elaborate furnishings or in an Ottoman style interior, this antique palace size rug...

A decorative building sculpture as a souvenir. Some wear with a nice patina, but this is due to age. Made of metal. This item was purchased as a souvenir at a Grand Tour in Europe an...

The size and the color of this glass shade is amazing. It's one of the largest hand blown teardrop shades of this type that we have ever offered. The s...

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

Tiffany Studios Pomegranate Leaded Glass and Patinated Bronze Table Lamp. A beautiful Tiffany Studios ensemble with a rare and early patinated bronze base with original Bryant socket...

Huge candelabrum crystal antique chandelier ceiling lustre Art Nouveau Measures: Total height 140 cm, height without chain 110 cm, diameter 110 cm. Weight (approximately): 35 kg. Number of lights: 30-light bulb sockets: E14 material: Brass, cut glass, crystal, New electricity! New cable! Restored and rewired. tested. Ready to hang. Total length variable. Old chandelier with love and professionally restored in Berlin. electrical wiring works in the US. Re-wired and ready to hang not one missing Cabling completely renewed. Crystal, hand-knotted The chandelier is sent in a specially made wooden box so that safe transport is guaranteed. So worldwide shipping is no problem. they will for everyone the chandelier is wired in such a way that it works worldwide without any modification. in USA the chandelier works. ready to connect. before shipping the chandelier will be cleaned. missing crystals added. just cleaned and complete. will be sent. You are buying from a specialty chandelier store. with years of experience and heart for chandeliers Huge Candelabrum Crystal Antique Chandelier Classic...

Art Nouveau-style pewter chandelier with eight arms, circa 1940. Vintage polished pewter French chandelier newly wired for use within the USA with eight candelabra sockets and all UL...

René Lalique, France. Rare Domremy art glass vase in emerald green with thistles in relief. Approx. 1926. Marcillac n. 979. In excellent condition. Signed. Dimensions: H 22.8 x...

Antique Art Nouveau shaving stand with swinging candleholders. Wonderful flowing lines. By Thonet of Austria, circa 1900.   

A very nice version from the often used design by Koloman Moser as well as by Josef Hoffmann, the total drop will be custom made. Originally manufactured at the Wiener Werkstaette A...

Brilliant handmade hand-glazed Art Nouveau planter jardinière, 1930. This Is signed but we cannot find out by whom it was made Handmade and hand-glazed in brilliant colored details...

Original antique poster - Reverie du Soir / Evening Reverie (or Evening Contemplation) - by the notable Czech illustrator, graphic artist and painter Alphonse Mucha (Alfons Maria Muc...

Rare and Unusual Unger Brothers Jester Sterling Letter Opener from the 1900's. Wonderful detailing and unusual subject matter. 1900 USA. 9.5" x 1.85" x 1.25".

1910-1920 Handel Art Nouveau Table Lamp, Elegant proportioned bronze base & fittings, 3 original light sockets with bell chain pulls, in attractive old patina. Handel label on ba...

Luxury at its finest, high-end glass plate with mermaids by Daum, France. This exquisite Art Nouveau dish by Daum exemplifies the mastery of French glassmaking. Crafted using the pâ...

A rare sterling silver Georg Jensen hammer, design #107 by Johan Rohde circa 1919. The design is attributed to Rohde's acorn pattern, featuring an acorn top finial attached to a soli...

This bed and night stand was produced by Colli Torino established in 1850. - solid oak with hand-carved elements - mattress size is 120cm x 190cm - The company is well known becau...

French Art Nouveau Bronze Sculpture by Leo Laporte-Blairsy Signed: “LEO LAPORTE BLAIRSY” Foundry Mark: “Susse Fres, Edt” . With Susse stamp Leo Laporte-Blairsy (1865-1923) was a Fr...

Late 19th or early 20th century glass lantern by Baccarat, France, signed in relife "Baccarat" and "Depose" It is decorated all around with floral motifs. At the moment it can hold a...

This Art Nouveau vase features an extraordinary crystalline glaze that enhances its elegant, flowing form. The vase’s surface is adorned with unique, intricate patterns created by th...

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...

An encounter with Massier’s luster-glazed ceramics is an embarkation on an acid-colored trip, the sort of exploration which inspires deep reflection and requires transparency. Clemen...

Old bronze Art Nouveau Guimard's lamp and Pâte de Verre.

In the iconic 1896 revival of La Dame aux Camélias, Sarah Bernhardt portrayed the dying courtesan Marguerite Gautier, clad in a flowing white dressing gown. She wraps a bed sheet aro...

Art Nouveau Bronze chandelier with nickel patinated finish and glass tubes.

Liberty vase in transparent glass and pewter carved with ladies, made in the early 20th century Ø cm 16 h cm 28 Art Nouveau is an international style of art, architecture, and appl...

Original Signed Gustav Gurschner Bronze Art Nouveau Figural with Art Glass Tiled Shade Sculpture. Large lamp. Lights up beautifully!

This unique and remarkable Danish Art Nouveau pine cabinet, a creation of architect Hans Karl Kristensen during the years 1910-1920 in Ry, Denmark, stands as a captivating exemplar o...

Nice and traditional style in this bronze and serpentine ? bowl . ashtray with cranes standing to bowl by attributed architect / designer Albin Muller .

Beautiful cast bronze floral design Art Nouveau table lamp, France, 1930s. This exquisite table lamp features two flowers standing on a plant, one of them holds the light bulb. This ...

Rare decorative Art Nouveau brass fireplace surround with original patina, circa 1900.

A set of four early Danish sterling silver ( 830 ) from 1931. Each a low hand hammered bottle coaster with raised beaded edge. Additional information: Material: Sterling silver Styl...

Art Nouveau Pewter and Velvet Snail-Shaped Pincushion, Early 1900s A charming and decorative snail-shaped pincushion in polished pewter with a green velvet cushion. The detailed cr...

Variation of the Chandelier for the Anglo-Austrian Bank in Vienna also used at the Boston Trade Bank comes as well in 50cm diameter, please ask for the price. The total drop is custo...

Three 19th Century Cobalt Blue Glass Decanters or Serving Bottles c1860 for display purposes. These rare bottles have a unique look with the...

Exceptional and rare set of 6 Bistro chairs by Jacob & Josef Kohn from the end of the 19th century. Bentwood chairs with seats and backs carved with be...

A Georg Jensen Sterling Silverware Set for 12 in the Blossom/Magnolia pattern, design #84 by Georg Jensen from 1919. The blossom or Magnolia p...

This stunning French antique Art Nouveau display cabinet by Émile Gallé, crafted in 1905, is a true masterpiece. Adorned with intricate marquetry on all sides, this museum-quality pi...

Tiffany Studios Favrile Iridescent and Bronze Trumpet vase USA, New York. circa. 1920 Hand-blown Favrile glass, patinated bronze Height: 14.75 Inches X 6.5 Inch Diameter (37 × 17 cm...

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

This is a Nouveau Art Rueven Glass Flower Bud Vase. It depicts an elongated pink, green-yellow, and grey blue amphora shaped bud vase with ruffles upper border. Below the base, it is...

Lovely tortoise bamboo plant stand from France, circa 1960's. This is a gorgeous piece with elegant and simple lines to blend with any decor in a home or office. The splayed legs r...

This is an Art Nouveau Style Table Clock. It depicts a small balloon shape clock mounted in copper color metal. A standing young nymph is adorning the front of the case while holding its face. The white enamel round dial of the clock has Arabic numbers and is also decorated with a garland of roses and leaves around the center. The gold color metal hours and minutes hands are made of scrolls of leaves. At the bottom of the dial face is hallmarked New Haven Clock...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

Needs weld (see pic 8). Missing (1) decorative ring (see pic). Overall very nice.

French Majolica pink daisy plate Orchies, circa 1890.

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...

19th century faux bamboo chest with a marble top from France. The top is cut Carrera marble and appears to be original to the piece. The case upon which it sits is made from cherry...

This lovely small scale Spanish iron side table was recently hand crafted by skilled artisans using traditional iron-working techniques. It features a distinctive design with a twist...

Tiffany Studios By Louis Comfort Tiffany Gold Favrile Iridescent Art Nouveau Trumpet Vase. This is the one you want to have for your collection in the classic trumpet from in amazing...

A decorative building sculpture as a souvenir. Some wear with a nice patina, but this is due to age. Made of metal. This item was purchased as a souvenir at a Grand Tour in Europe an...

Majolica Water Lily Pad or water lilies Plate signed Villeroy et Boch, circa 1900. 7.7 inches diameter.   

Model #2 Eduard Stellmacher and Co, Porzellanfabrik und Kunstkeramische Industriewerke Driven to establish a new company that produced luxury porcelain and ceramic items based on his own aesthetic aspirations, Stellmacher left Amphora when the workshop was at its most prosperous, in 1904. Together with entrepreneur Karl Frank, who provided the financial backing, he founded Ed. Stellmacher & Co. in Turn-Teplitz in 1905. From the outset, Stellmacher worked hard to achieve a major position among other high-end ceramic art producers. He believed the success of the company would depend on his products of “appropriate methods and unerring quality, perfect from both the technical and artistic sides”. Stellmacher based his first collection on artistically progressive products, pieces he believed would be in high demand. The greater part of the designs were either large vases complemented with sculptures of fantastic dragons or natural animals. With this series, Stellmacher continued the themes he had created for Amphora from 1899-1902, however, his naturalistic renderings of animals was even more elaborately precise. He developed a special ceramic material called refined earthenware, which minimized the shrinkage that was common during firing and allowed for greater preservation of details in the original models. Unfortunately, by 1905, contrary to Stellmacher’s plans, there was little to no demand for objects of this type. Very few pieces exist today as very few were originally produced. Even after redirecting the company to produce commercial goods Stellmacher still could not ward off the company’s demise. By 1910 the Stellmacher & Co. fell into bankruptcy and was liquidated. Art Nouveau Dragon...