American Arts & Crafts
A Pair of Table Lamps
Patinated Bronze
Circa 1910
DIMENSIONS
Height: 15 inches Width: 6 inches Depth: 12 inches
ABOUT
This rare pair of American Arts & Crafts bronze lamps is a stunning example of early 20th-century craftsmanship. Featuring all original parts, including the electrical wiring, sockets, switches etc., these lamps showcase a masterful blend of innovative technology of the time and artistic design. The lamp bases are truly exceptional, each taking the form of a whimsical tripod structure, with two intricately sculpted bird claws resting on a classically shaped scroll foot. The patinated bronze finish enhances the intricate details of the design, adding a timeless elegance that complements both the aesthetic and functional aspects of these remarkable lamps. Perfect for collectors or anyone with an appreciation for unique, historically significant design.
$3,800
German Jugendstil
Attributed to
Oscar Bach
Table Lamp
Bronze & Repousse Brass
Ca. 1900
DIMENSIONS
Height: 21 in (53.34 cm) Diameter: 12 in (30.48 cm)
DETAILS
Attributed to Oscar Bach.
ABOUT LAMP
This Jugendstil table lamp crafted from hand-repoussé brass and bronze, attributed to Oscar Bach, showcases intricate motifs of cats and mice adorning its shade. Created around 1900 in Germany, this piece exemplifies the artistic fusion of Jugendstil (German Art Nouveau) aesthetics with superb craftsmanship. It is equipped with two light sockets, adding functional elegance to its ornate design. Oscar Bach, known for his mastery in metalwork and decorative arts, contributed significantly to the early 20th-century design landscape with pieces like this lamp, celebrated for their intricate detailing and artistic innovation.
ABOUT ARTIST: Oscar Bach
Oscar Bach (German, 1884–1957) was a technically adept, stylistically diverse, and commercially successful master metalsmith. Born in Germany, he studied at both the Royal Academy and Imperial Academy of Art in Berlin before becoming artistic director of metallic arts firm in Hamburg. In 1911 Bach won the Grand Prix at the World's Exposition in Turin for a bed he designed for Kaiser Wilhelm II. That same year, he moved to the United State to establish a business with his brother Max in New york City.
The brothers quickly opened a metal design studio and flourished throughout the 1920s and 30s, with Oscar creating beautiful objects for wealthy New York clientele and custom architectural elements for country estates. He designed a multitude of domestic objects and grand commissions, including the lobby panel for the Empire State Building and monumental plaques for Radio City Music Hall, created in collaboration with Hildreth Meiere. Bach was awarded the prestigious Medal of Honor in 1926 from the Architectural League of New York for a set of bronze doors he designed for their club room. Not just a talented designer, but a savvy marketer and self-promoter, Bach enjoyed a long and successful career. His work can be found in the permanent collections of The Metropolitan Museum of Art, The Minneapolis Museum of Art, The Wolfsonian, and Reynolda House.
$4,500
ON HOLD
Art Nouveau| Taisho Period
Table Lamp
w/ Chrysanthemums & Oak Leaves
Patinated Bronze
Japan, Ca. 1900 - 1909
DIMENSIONS
Height: 32 in (81.28 cm) Diameter: 9.5 in (24.13 cm)
ABOUT
This exquisite table lamp, crafted during Japan's Taisho period, exemplifies the elegant Art Nouveau style with its intricate bronze design. Adorned with delicate chrysanthemums and oak leaves, each detail is a testament to the craftsmanship of the era. The chrysanthemum holds profound cultural significance in Japanese society, symbolizing the essence of the nation itself and serving as the imperial seal of the royal family. This symbolism adds a layer of historical richness to the lamp, making it not just a piece of decor, but a cultural artifact. Dating from after 1900, this lamp has gracefully aged into a remarkable antique, showcasing a patina that enhances its allure.
$4,200
Italian Renaissance Revival
A Pair of
Lantern Table Lamps
Brass Repousse & Cast Bronze
Ca. 1900s
DIMENSIONS
Height: 24 in (60.96 cm)
Diameter: 7 in (17.78 cm)
ABOUT
Behold a captivating manifestation of Italian Renaissance Revival: a splendid pair of lantern table lamps wrought in cast bronze, adorned intricately with brass repousse embellishments and graced by delicate glass inserts. Crafted by skilled hands in the venerable workshops of Italy during the early 20th century, these lamps stand as testament to the enduring craftsmanship of the era. They present themselves in a remarkable state of antiquity, bearing the patina of time with grace, a tribute to their age and the stories they carry.
$4,250
Early Italian Brutalism
Marcello Fantoni
Table Lamp
Wrought Bronze & Iron
Circa 1970s
DIMENSIONS
Height: 31.5 in (80.01 cm)
Diameter: 8.25 in (20.96 cm)
MARKINGS
Located on the lamp's base is the distinctive "Fantoni Firenze Italy" maker's mark.
ABOUT
This exquisite table lamp exemplifies the bold aesthetic of Italian early Brutalism, crafted by the renowned artist Marcello Fantoni during the dynamic artistic period of the 1970s. Fantoni, celebrated for his innovative approach to ceramics and metalwork, created this striking piece using a combination of wrought bronze and iron. The lamp's design showcases a harmonious blend of organic and industrial elements, with its robust form and intricate detailing capturing the essence of Brutalist design philosophy.
The lamp is not only a functional lighting fixture but also a sculptural work of art, characterized by its substantial weight and impressive craftsmanship. Every aspect of its construction reflects Fantoni's mastery, from the meticulously textured surfaces to the skillfully integrated materials that lend it a sense of timeless solidity.
Located on the lamp's base is the distinctive "Fantoni Firenze Italy" maker's mark, a testament to its authenticity and the artisanal tradition of Florence, where Fantoni established his renowned studio. This hallmark adds provenance and historical significance to the piece, connecting it directly to the celebrated artist's legacy.
Despite its age, this lamp remains in remarkable vintage condition, retaining a desirable patina that enhances its aesthetic appeal. The patina, acquired through decades of careful use and maintenance, imbues the lamp with a sense of history and character, making it a cherished addition to any discerning collectors or enthusiast's home.
The lamp's design and condition make it not only a functional lighting solution but also a captivating conversation piece that enriches any interior space. Whether placed on a desk, a side table, or as a focal point in a curated collection, this Marcello Fantoni table lamp stands as a testament to the enduring allure of mid-century Italian design and craftsmanship. Its presence is a nod to an era of artistic exploration and innovation, where form and function converged to create objects of enduring beauty and cultural significance.
MARCELLO FANTONI
Few personalities in the realm of postwar fine art sculpture have been as influential as that of Marcello Fantoni. Defying his humble beginnings with simple ceramics, Fantoni was able to push the practice and the medium into the sphere of the serious with his mastery of technique and his wholly unique abstract style. In dialog with the major artistic movements of his time, Fantoni raised the profile of Italian ceramics while laying the groundwork for its continued prestige.
Born in Florence in 1915, Fantoni started on the artistic path at an extremely young age. In 1927 at age 12, he entered the Instituto d’Arte Porta Romana. While there he studied under the giants of Italian sculpture of the time, including Carlo Guerrini, Libero Andreotti, and Bruno Innocenti, with Gianni Vagnetti as his drawing instructor. Graduating in 1934 as a “maestro,” Fantoni set out on his own as a professional ceramicist.
In 1936, having served for a while as artistic director of a ceramics factory in Perugia, Fantoni established his own Fantoni Ceramic Studio in his home city. He debuted the output of his new studio in 1937 at the Florentine Arts and Crafts Exhibit to much acclaim, earning himself a reputation which would endure up to and after the devastating Second World War. After the cessation of hostilities (in which he participated as a member of the Italian Resistance), Fantoni’s production increased exponentially. This was due to Italy’s dire need to recover economically and the hunger abroad (particularly in the United States) for strikingly modern midcentury design.
From the 1950s through to the 1970s, a steady stream of artistic material and sculpture emerged from Fantoni’s studio. He employed students and artisans who would also later make names for themselves as independent artists, just as he did. His designs and their creations marched to the same beat of the midcentury movement which was sweeping European design at the time. But Fantoni’s personal sculptures in particular exhibit something different—influences as far ranging as Cubism to early Etruscan pottery.
Taking his cue from his intimate knowledge of modern painting (particularly Primitivism and, as mentioned, Cubism) Fantoni was able to play with form and line in a way which was elusive to other ceramicists. The Cubists inspired block and vase sculptures, for example, resemble rocks on a hill while also retaining their abstract form. His painterly approach allowed Fantoni to develop glazes for his ceramics which emphasized color highlighting of the three-dimensional form.
With his storied legacy, Fantoni is well represented both in the private market and public collections. His work can be found in institutions as varied as the Metropolitan Museum of Art, the Museum of Fine Art Boston, the Victoria and Albert Museum, the Royal Scottish Museum of Edinburgh, the Museum of Modern Art in Tokyo, and in his native land the International Museum of Ceramics in Faenza, the National Bargello Museum, and the Gabinetto Disegni e Stampe at the Uffizi in Florence.
$3,000
Italian Renaissance Revival
Lantern Floor Lamp
Cast Bronze & Repousse Brass
Circa 1880s
DIMENSIONS
Height: 66 in (167.64 cm) Diameter: 12 in (30.48 cm)
ABOUT
This elegant Italian Renaissance Revival floor lamp is made in cast bronze with repousse-brass lantern; the top decorated with ornamental crown finial. Handmade in Italy in the second half of 19th Century, the lamp preserved its original rich reddish-brown patina.
$4,900
American Art Deco
Table Lamp
Chromed Metal & Leather
ca. 1930s
ABOUT
Art Deco table lamps are a classic and elegant addition to any home, thanks to their sleek, geometric shapes and bold, geometric patterns.
They originated in the 1920s and 1930s and this lamp is a striking example of the innovation of that time due to its laconic, strictly functional design and, at the same time, the presence of a luxury element - a leather insert stem.
DIMENSIONS
Height: 24 inches Width: 9.5 inches Depth: 9.5 inches
$2,400
American Mid-Century Modernism
A Pair of Lamps in Mastercraft Style
Brass and Wood
ca. 1960s
ABOUT
Mastercraft was founded in Grand Rapids, Michigan in 1946 by brothers Charles and William Doezema-who came from a family of cabinet makers. The Doezema brothers went overseas during World War II and returned to the US planning to make furniture with an urban cosmopolitan style. Mastercraft specialized in chairs and case pieces with traditional forms and modernized veneers and finishes. In 1974 Mastercraft was acquired by Baker Furniture and Vancouver based artist Bernhard Rohne designed large case pieces. The bold and artful statement of Mastercraft furniture tables chairs and cases are popular with collector’s today.
DIMENSIONS Height (incl. lamp shade hardware): 37.5 inches Height (lamp body only): 21.5 inches Width: 5.75 inches Depth: 5.75 inches
sold
Austrian Jugenstil
Table Lamp
Water Bearer Under Palm Tree
Signed: F.O. Klar
Cold-Painted Vienna Bronze
ca. 1900
DIMENSIONS
Height: 16 inches Width: 7 inches Depth: 7.5 inches
$1,600
HOLD
Austrian Jugendstil
Table Lamp
Patinated Cast Bronze, Opaline & Art Glass Medallions
Vienna, ca. 1900
DIMENSIONS
Height: 23 inches Width: 18.5 inches Depth: 15 inches
ABOUT AUSTRIAN JUGENDSTIL (ART NOUVEAU)
Towards the end of the 19th century, the world of fine arts had a nicely consolidated core of conservative styles that were mostly characterized by their re-cycling of artistic developments from preceding centuries. The reactionary Austrian-Hungarian Empire with its deeply conservative Emperor Franz Joseph I and a cultural spearhead dominated by the Catholic church was heavily stuck in the age of "historicism". Aside of impressionism, naturalism and later expressionism, Art Nouveau was one of the most important anti-historicist movement in fine arts of the late 19th and early 20th century. Characteristics are a break with traditional styles, motives taken from youth, nature and foreign cultures, a tendency to light ornaments, a two-dimensional style in painting, asymmetry, and - especially later on - a steady extension of the "object of art" to print, objects of daily use, books, jewelry, architecture, apparel design, furniture and all kinds of other things. Art was to be liberated from the canvas. Later one branch of Art Nouveau became particularly floral and commercial - at which point many of the early Art Nouveau artists had already developed further on, to Art Deco, for example, or they had become modern classicists. Art Nouveau had several centres all over Europe. Paris and the rest of France, the Benelux countries, Scotland, Barcelona and several places in Central Europe. These include in particular the three "show case cities" of the Austrian-Hungarian Empire: Prague, Budapest and Vienna. Here Art Nouveau was called "Jugendstil" ("Style of the Youth") or “Secessionstil”. Since Vienna was the over-all capital, is also had the highest density of conservative nobility. This is certainly part of the reason why it had a hard time getting started properly. However, once a bunch of young artists had split with a lot of Austrian pomp and circumstance, Jugendstil finally kicked in and there are several places where you can follow the traces of this era in Vienna.
SOLD
American STREAMLINE Art Deco
Grand Floor & Table Lamp
LUCITE
ca. 1930s
ABOUT
This magnificent floor lamp or table lamp of the American Streamline Art Deco period floor lamp or table lamp is made with bound Lucite tubes of various sizes, mounted on a red-lacquered tubular base was made circa 1930.
DIMENSIONS
Height: 36 inches Diameter: 6 inches
$4,200
French Art Deco
Max Le Verrier
‘Boubou’ Desk Lamp
Patinated Bronze & Marble
ca. 1920
DETAILS Signed, original black & white marble base, period wiring and fittings.
DIMENSIONS Height: 6.5 inches Width: 3.5 inches Depth: 5.5 inches
ABOUT THE LAMP
A charming and very funny monkey named Boubou, excited by some suspicious sounds, decided to shine a lantern and discover the source and origin. The sculptural interpretation of this scene with a simple plot by a wonderful French sculptor turns a seemingly small trivial table lamp into a real work of art - with such skill the author conveys its emotional state, a mixture of fright and curiosity!
ABOUT THE ARTIST
Louis Octave Maxime Le Verrier (French, 1891 – 1973), known more commonly as Max Le Verrier, also known by the pseudonym Artus was a famous French sculptor. He was known for being a pioneer within the Parisian Art Deco movement, creating decorative art objects often made in bronze as well as historical sculptures.
Max le Verrier was born on the in Neuilly-sur-Seine, near Paris, in 1891. His mother was Belgian and his father was a Parisian goldsmith and jeweler on Boulevard Malesherbes in Paris. His parents divorced when he was 7 years old. Le Verrier attended several boarding schools (Collège de Verneuil sur Avre) and was a brilliant student. He grew an interest for drawing and art during his education.
However, his father thought that his future would be in farming, therefore he sent Max to study agriculture (St. Sever and La Réole) against Ma’s wishes. However, Max Le Verrier kept his liking for sculpture during his spare time lively. At the age of 16, he returned to Paris and did odd jobs to escape farm-work and to provide for himself. (His father emancipated him, and, as a result, he was left to fend for himself).
In 1909, when he was 18, he left for England. As a foreigner, it was very difficult for him to find a job in London; refusing to come back to France and admitting defeat, he lived very difficult days. From an early age he showed great promise as an artist and sculptor; and after serving in the French army during World War I, he studied at the Ecole des Beaux-Arts in Geneva. During his studies in Switzerland he met fellow sculptors Pierre le Faguays and Marcel Bouraine, who became close friends and with whom he collaborated for much of his life.
After completing his studies, le Verrier returned to France in 1919, and founded his own studio in Paris. It was at this time that he created his first popular sculpture, the famous 'Pelican' - which was the first of a long line of animal figures that bore his name. Also, Artus is Max Le Verrier's pseudonym.
Le Verrier was awarded a Gold medal for his sculptures at the 1925 Paris l'Exposition des Arts Décoratifs et Industriels (the famous exhibition from which the term 'Art Deco' was derived). In 1926, le Verrier opened his own foundry, casting pieces for a wide range of French sculptors of the period, including Pierre Le Faguays, Marcel Bouraine, Janle, Denis, and Charles.
He gained a reputation for the very high quality work, exceptional detailing and accuracy of the items that his firm produced. Interestingly, the foundry did not cast in bronze as is commonly assumed, because le Verrier felt that he could achieve better detail by using his own proprietary mix of metals. At the same time as running his foundry, le Verrier continued to sculpt his own creations, and in the 1920's he became famous for his studies of woman as part of the Art Deco era's fascination with the ideal female form. His female figures are characterised by a lithe athleticism and perfect symmetry; and are highly regarded and much sought after. Le Verrier continued working throughout the 1930's - receving a medal of honor at the Paris International Exhibition in 1937 - before being arrested in 1944 for his resistance activities against the Nazi-backed regime. He reopened his studio after World War II, and continued to sculpt until his death in 1973
sold
Austrian Jugenstil/Secessionist
Desk Lamp
Brass, Cabochon Glass Elements
Austria, ca. 1900
DIMENSIONS
Height: 11.75 inches Width: 7.75 inches Depth: 11.75 inches
ABOUT LAMP
Rare, museum-quality and unique in its most unusual yet discreet low-key design and the finest workmanship, this Austrian Jugenstil/Secessionist brass desk lamp adorned with green glass cabochons completely around the perimeter of the spherical lampshade. Unmarked.
SOLD
AMERICAN Arts & Crafts
Table Lamp
Patinated Bronze and Crushed Amethyst
ca. 1910
DIMENSIONS
Height: 28 inches Width: 18 inches Depth: 18 inches
ABOUT THE LAMP
This massive, grandiose table lamp was made around 1910, during the heyday of the Arts and Crafts movement, being the root of the Modern Style; the British expression of what later came to be called the Art Nouveau movement, and which it strongly influenced. The artists and artisans of the Arts and Crafts movement stood for traditional craftsmanship, and often used medieval, romantic or folk styles styles of decoration; advocating economic and social reform and was anti-industrial in its orientation. This particular lamp can serve as a declaration of all the above principals and tendencies, especially in application to the decorative and applied arts.
sold
Jugenstil
Wayfarers in Oasis
Accent Lamp
Vienna Cold-Painted Metal
Austria, 19th Century
DIMENSIONS
Height: 12 inches Width: 6.5 inches Depth: 6.5 inches
ABOUT THE LAMP
This marvelous night light was made in Vienna around 1900 in the Art Nouveau style and in the manner of Franz Xavier Bergmann although there is a stamp on the back indicating that it was made by the Austrian firm 'Reginer'.
$2,400
Jugenstil
Loetz Witwe Glassworks
Fly Agaric Mushroom Lamp
Art Glass & Bronze
Bohemia, ca. 1900
ABOUT
This museum-quality Bohemian Jugenstil lamp by Loetz Witwe Glassworks, ca. 1900 is distinguished by non-trivial composition, refineв forms of amazing proportions and the unique selection of materials. The Loetz art glass lamp shade in form of a fly agaric mushroom cap is of ideally organic form and color; and is flawless. The patinated bronze lamp base mounted on a Rojo Coralito marble plinth is a work of art by itself. It consists of a tall, graceful mushroom stem and a plump baby-mushroom nestled against it in the middle of a moss-covered clearing, in the middle of which an elegant lizard made of cold-painted bronze froze in sensitive tension.
DIMENSIONS
Height: 13 inches Depth: 5.5 inches Width: 6.5 inches
CONDITION
All components, details and wiring are original, intact and in excellent antique condition. No imperfections or restorations.
LOETZ WITWE GLASSWORKS
In 1836, Johann Eisner established a glassworks in the Southern Bohemian town of Klostermühle, today part of the Czech Republic. The Art Nouveau Period was the glory years of the company. The glassworks created large numbers of its own new designs of iridescent, trailing art nouveau glass, sometimes in collaboration with well-known artists and designers like Marie Kirschner and Franz Hofstötter (aka Franz Hofstätter). The company’s success during this period had two prime drivers – the technical expertise of Prochaska and the business acumen of von Spaun. Loetz Witwe created many of its own designs, and also supplied glass commissioned by major customers like E. Bakolowits (Vienna) and Max Emanuel (London). The Great Depression in the late twenties and another fire in 1930 hit the company hard, and during the thirties the glassworks changed ownership several times, often had to close down for long periods and finally declared bancruptcy once more in 1939, following the German invasion of Czechoslovakia. The glassworks manufactured utilitarian glassware for the Third Reich throughout the war, but then ultimately closed down completely in 1947.
$9,500
Austrian Art Nouveau
Franz Xavier Bergman
A Carpet Dealer
RARE Vienna Bronze Table Lamp
Ca. 1900
This rare and highly collectible desk lamp is made of cold-painted bronze in the best traditions of the world-famous Viennese foundry of Franz Xavier Bergman. The composition consists of an oriental man, a carpet dealer showing a beautiful multi-color carpet spreading it on the ground in front of invisible customers.
Height: 22.25” Width: 10.5” Depth: 10.25”
Franz Xaver Bergman (Austrian, 1861–1936) was the owner of a Viennese foundry who produced numerous patinated and cold-painted bronze oriental, erotic and animal figures, the latter often humanized or whimsical, humorous objects d'art. Cold painted bronze refers to pieces cast in Vienna and then decorated in several layers with so-called dust paint; the expertise for the mix of this kind of paint has been lost. The color was not fired hence "cold painted". Mainly women working at home, a typical cottage industry, carried out the painting. Noted for his detailed and colorful work, Bergman was signing his creations with either a "B" in an urn-shaped cartouche, or "Nam Greb" - for "Bergman" in reverse. These marks used to disguise his identity on the erotic works.
SOLD
Austrian Art Deco
A Dancer
Patinated Bronze, Onyx & Marble
Lamp
Ca. 1920s
A beautiful and very unusual Austrian Art Deco nightstand lamp with a semi-nude exotic dancer in a luxury headdress. The lamp base is made of combination of black marble and onyx, with the onyx part of the base illuminated. However, the most unusual feature is a 4-side patinated bronze setting around the onyx part of the base, depicting a quartet of musicians, accompanying the dancer – a pianist, a bass player, a saxophonist and a drummer.
Height: 18.25” Width: 4.5” Depth: 6.75”
$4,200
American Arts & Crafts
Bradley & Hubbard Manufacturing Co.
Enameled Metal
Elephant Table Lamp
ca. 1910
Attributed to Bradley & Hubbard. This rare ‘Elephant Lamp’ features a classic Bradley & Hubbard design of three elephants, holding a sphere.
Beautiful patina with bronze appearance to original finish. Will work surprisingly in harmony with a mid-century modern room!
Dimensions:
Total height (with lampshade fittings): 25.5 inches
Height (without fittings): 14.5 inches
Max. Diameter: 10 inches
Some enamel and patina chipped off but overall in good condition.
The Bradley & Hubbard Manufacturing Company (1852–1940) founded in Meriden, Connecticut and over the years produced Art Brass tables, call bells, candlestick holders, clocks, match safes, lamps, architectural grilles, railings, etc. Overall, the company patented 238 designs and mechanical devices. "By the 1890's, the Bradley and Hubbard name was synonymous with high quality and artistic merit," said Richard E. Stamm for the Smithsonian Institution, which has an extensive collection of Bradley and Hubbard manufactured design objects in its collection.
In 1895, in a biography of co-founder Nathaniel Bradley, Henry Hall described Bradley & Hubbard as, "This company has enjoyed almost phenomenal success, and from a small concern, employing only six workmen, it has grown to own and occupy an immense plant of brick buildings, with a floor area of nearly seven acres, employing about 1,500 operatives, with offices and sales rooms in New York, Boston, Chicago and Philadelphia."
In 1940, the business sold to the Charles Parker Company.
As of 2016, over 175 Bradley & Hubbard designs are in North American museums and collections, including the Baltimore Museum of Art; the Brooklyn Museum; The Canadian Centre for Architecture in Montreal; Carnegie Museum of Art in Pittsburgh; Connecticut Historical Society, The G. Henry Ford Foundation in Dirborn, Michigan; the Historic New England organization in Boston; the Metropolitan Museum of Art in New York; the Munson Williams Proctor Arts Institute in Utica, NY; the Smithsonian in Washington; the Wadsworth Atheneum in Hartford; and Yale University Art Gallery in New Haven. A customized interior installation by B&H is also situated in the James Blackstone Memorial Library in Branford, CT.
In 2006–07, Bradley & Hubbard designs were featured in an exhibition ‘A brass menagerie: Metalwork of the Aesthetic Movement’ curated by Anna Tobin D'Ambrosio in Utica, NY and New York City.
sold
French Art DECO
Muller Freres & Edgar Brandt
Frosted White Glass & Beaten Bronze
Table Lampe
Ca. 1910
Dimensions:
Height (total): 11-3/4 inches
Height (glass lampshade only): 5-3/4 inches
Diameter (glass lampshade): 7 inches
Width (bronze base): 7-1/4 inches
Bronze stand, possibly, by Edgar William Brandt (1880–1960), who was a French iron worker, prolific weapons designer and head of a company that designed 60mm, 81mm and 120mm mortars that were very widely copied throughout and subsequent to World War II.
The frosted glass lampshade is by Muller Frères Luneville. Muller Frères were French glassmakers, located in Lunéville, France. They were renowned for producing Art Nouveau glass works, such as vases and lampshades. The Muller family originally came from Alsace. Some members of the family worked together with Émile Gallé before starting their own business.
sold
Art Deco
A Pair of Bohemian
Bronze and Beaded Glass
Peacock Nightstand Lamps
Ca. 1920
Bohemian bronze and glass jeweled pair of nightstand Peacock Lamps with three lights behind the tails, rewired.
Dimensions: 16" W x 7" D x 16" H.
sold
Excalibur Foundry
A Pair of Giacometti Caryatid Bronze Table Lamps
Circa 1980s
Dutch guilt (gold leaf) bronze, foundry stamp “EXNY” on the bases.
Dimensions:
Height: 39 inches (99 cm) Width: 5 inches (13 cm) Depth: 5 inches (13 cm)
This pair of Male & Female Caryatid Table Lamps, sculpted in the manner of Ignazio Giacometti and rendered in Dutch gilt bronze are hand-made by the famous New York-based fine art bronze foundry, Excalibur.
Over 50 years of its existence, Excalibur Bronze Fine Art Foundry has created excellent art, monuments and ornamentation for institutions and private clients alike - from public statues and monuments to fine art and custom residential installations and fixtures, they have covered all the ground.
sold
A Pair of Modernistic Lamps
Smoked Lucite and Chrome with Decorative Threading
Circa 1980’s
Dimensions
Height: 29 in (74 cm)
A pair of vintage American table lamps, likely intended for a club or lounge, produced circa 1980s, with central chrome stems, surrounded by five smoked Lucite panels, joined by two circular supports to the top and bottom, surrounded by a layer of threading, forming abstract patterns when interwoven. Wiring and sockets to US standard, each requires a single mirror bulb. Good vintage condition, with some light corrosion and patina to the chrome stem.
$2,800
French Art Deco
Champlevé Table Lamp
Enamel on Copper & Green Onyx on Marble Base
Ca. 1930
This elegant French Art Deco (circa 1930) table lamp combines the simplicity and brevity of lines of the rectangular onyx & marble base with the complexity and sophistication of the pattern done in the famous French technique, Champlevé covering with the multi-color enamel pattern the four copper plates mounted in onyx around the perimeter of the base.
DIMENSIONS:
Height: 24 inches Base Height: 9 3/8inches Base width: 5 1/8 inches Base depth: 5inches
Champlevé Enamel
Champlevé is an enameling technique in the decorative arts, or an object made by that process, in which troughs or cells are carved, etched, die struck, or cast into the surface of a metal object, and filled with vitreous enamel. The piece is then fired until the enamel fuses, and when cooled the surface of the object is polished. The uncared portions of the original surface remain visible as a frame for the enamel designs; typically they are gilded in medieval work. The name comes from the French for "raised field", "field" meaning background, though the technique in practice lowers the area to be enameled rather than raising the rest of the surface. The technique has been used since ancient times, though it is no longer among the most commonly used enameling techniques. Champlevé is suited to the covering of relatively large areas, and to figurative images, although it was first prominently used in Celtic art for geometric designs. In Romanesque art its potential was fully used, decorating caskets, plaques and vessels. Champlevé is distinguished from the technique of cloisonné enamel in which the troughs are created by soldering flat metal strips to the surface of the object. The difference between the techniques is analogous to the woodworking techniques of intarsia and marquetry. It differs from the basse-taille technique, which succeeded it in the highest quality Gothic work, in that the bottoms of the recesses for the enamel are rough, and so only opaque enamel colors are used. In basse-taille the recesses are modeled, and translucent enamels are used, for more subtle effects, as in the 14th century Parisian Royal Gold Cup.