Floor Lamps

A fine Pair of 19th century Japanese Imari Porcelain and French Gilt-Bronze Mounted Thirteen-Light Celadon Torchere Candelabra. The bottle-shaped Japonisme vases with a Royal red background, decorated with parcel-gilt and black soaring eagles in the hunt within a forestall scene. Each Vase fitted and surmounted with a French 19th century Louis XV Style 13-Light scrolled candelabrum and all raised on a circular pierced gilt-bronze plinth. circa: 1880. Imari Porcelain (????) is the name for Japanese porcelain wares made in the town of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe extensively from the port of Imari, Saga, between the second half of the 17th century and the first half of the 18th century. The Japanese as well as Europeans called them Imari. In Japanese, these porcelains are also known as Arita-yaki (???). Imari or Arita porcelain has been continously produced up through the present day. Characteristics Though there are many types of Imari, Westerners' conception of Imari in the popular sense is associated only with a type of Imari produced and exported in large quantity in mid-17th century. This type is called Kinrande. Kinrande Imari is colored porcelain with cobalt blue underglaze and red and gold overglaze. The color combination was not seen in China at that time. Traditional Ming dynasty color porcelain used dominantly red and green, probably due to scarcity of gold in China, whereas gold was abundant in Japan in those days. The subject matter of Imari is diverse, ranging from foliage and flowers to people, scenery and abstractions. Some Imari design structures such as kraak style were adopted from China, but most designs were uniquely Japanese owing to the rich Japanese tradition of paintings and costume design. The porcelain has a gritty texture on the bases, where it is not covered by glaze. There is also blue and white Imari. Kakiemon style Imari is another type of Imari, but it tends to be categorized separately in Europe. History "Imari" was simply the trans-shipment port for Arita wares. It was the kilns at Arita which formed the heart of the Japanese porcelain industry. Arita's kilns were set up in the 17th century, when kaolin was discovered in 1616 by the immigrant Korean potter, Yi Sam-pyeong (1579–1655). (He may also be known by the name, "Kanage Sambei".) Yi Sam-Pyeong, along with his extended family of 180 persons, left Korea on the offer of a privileged position in Japan. This decision was made after the occurrence of certain Japanese invasions of Korea. After Yi Sam-Pyeong's discovery, his kilns began to produce revised Korean-style blue and white porcelains, known as "Shoki-Imari". In the mid-17th century there were also a lot of Chinese refugees in Northern Kyushu due to the turmoil on Chinese continent, and it is said one of them brought coloring technique to Arita. Thus Shoki-Imari developed into Ko-KutaniImari. Ko-Kutani was produced around 1650 for both export and domestic market. Blue and white porcelain continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are accordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon style Imari, which was produced for about 50 years around 1700. Imari achieved its technical and aesthetic peak in Kakiemon style, and it dominated European market. Blue and white Kakiemon is called Ai-Kakiemon. Kakiemon style transformed into Kinrande in the 18th century. Kinrande used blue underglaze and red and gold overglaze, and later some other colors. Imari began to be exported to Europe because the Chinese kilns at Ching-te-Chen were damaged in the political chaos and the new Qing dynasty government stopped trade in 1656–1684. Exports to Europe were made through the Dutch East India Company, but the designation "Imari Porcelain" in Europe connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China began export to Europe again, since Imari was not able to compete against China due to high labor cost. By that time, however, both Imari and Kakiemon style were already so popular among Europeans, Chinese export porcelain copied both Imari and Kakiemon style, which is called Chinese Imari. At the same time, European kilns, such as Meisen also tried to copy Imari and Kakiemon. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe. Thus in western world today, two kinds of Imari can...

Pair of Oversized palatial size torchères made of bronze silver-plate bases and alabaster lamp shades. Made in Italy, c. 1900's. *Size reference photo is from a 5'6" person standing...

A green, vintage Art Deco Italian pair of large floor lamps made of handcrafted bronze with a twisted shaft and broad dish, in good condition. The detailed lighting is resting on sty...

Measures : Total Height : 188,5 cm (74,2 in.) ; Base : 45 x 45 cm (17,7 x 17,7 in.) Pedestal height : 136 cm (53,5 in.) Lamp height : 52 cm (20,4 in.) Beautiful pair of neo-Greek fl...

This floor lamp is made from two types of metal: antique bronze and antique brass. The light source is concealed with an antique brass mesh, while o...

A beautifully cast matching pair of patinated bronze figural torcheres in the manner of Clodion modeled as classically draped young girls with garlands of flowers in their hair and h...

Architectural adjustable dark bronze floor lamp featuring a tubular shade and square base. Rewired for use in the USA using black silk cord.

A gold, vintage Mid-Century Modern Italian floor lamp made of hand crafted polished brass, designed and produced by Stilnovo, in good condition. The floor lamp is composed with six f...

An exceptional late 19th century rare French Rococo revival style floor lamp featuring amazing details. The floor lamp is made of bronze and shows great patina adding Beauty and char...

Carved travertine and handblown glass works stretch between floor and ceiling. It is both sculpture and light-giving. The height of each Form is tailored to fit perfectly in any spac...

Mark Brazier-Jones, Dew floor lamp, circa 1995, patinated iron, bronze and polished glass 258cm height One of a kind piece crafted by the artist himself. A floor lamp made of br...

Cast bronze, handblown glass and marble works stretch between floor and ceiling. It is both sculpture and light-giving. The height of each Form is tailored to fit perfectly in any sp...

Modernist adjustable height and swiveling head bronze floorlamp by Koch & Lowy, c 70s. Rewired for use in the USA.

Beautiful quality solid bronze floor lamp with antique calcite art glass shade. American, early 20th century. Recently re-wired.

Neoclassical bronze floor lamp 55.5 h x 20 diameter Original preowned vintage condition Review images. No shade is included. Delivery to LA OC.  

Sun lamp in white, gold and tan enameled ceramic, sculptural floor or table lamp bringing to your space an amazing light experience when the night falls, and a stunning sculptural presence during the day. Approximate dimensions: Height 80 cm x diameter 75 cm. Signed on the base by the artist, delivered with a “Certificate of Authenticity”. Georges Pelletier (1938) is a great contemporary artist exploring the fields of ceramics and lighting, since the 1950s. Born in Brusels in 1938. At the tender age of 12 he enrolls in the École du Pioulier, founded by Célestin Freinet and located in Vence in the South of France. Here he learns free and modern art and discovers drawing and ceramics. During this period Pelletier starts showing solidarity and relief based on the principle of equality. This formation lends him a unique artistic identity. Georges Pelletier arrives to Paris in 1953 and continues with his drawing studies at l’Académie Charpentier meanwhile he still frequents Fernand Léger’s workshop. He enrolls the school of Métiers d’Art in 1955. Pelletier deepens into the world of ceramics during his time at Claude Pantzer’s workshop and the Potiers d’Accolay where he meets Raphael Giarusso...

Glass floor lamp. 17 W LED. The Vulcano floor lamp is composed of 8 glass strips assembled to form a modern and imposing structure. When lit, this majestic lamp reveals all the refle...

Sita. co - Stylish and useful cast bronze floor lamp with contemporary design. A base presents natural irregularities of the productive process. Available in two finishes: Polished: ...

Floor lamp Art Deco Materials: Bronze France 1930 You want to live in the golden years, those are the floor lamps that your project needs. We have specialized in the sale of Art Deco and Art Nouveau styles since 1982. Pushing the button that reads 'View All From Seller'. And you can see more objects to the style for sale. Why are there so many antiques in Argentina. In the 1880 – 1940 there was a grate wave of immigration encouraged by the periods of war that were taking place. 1st World War took place between 1914 and 1918 2nd World War took place between 1939 and 1945 The immigrants options were New York or Buenos Aires. Tickets were cheap and in Buenos Aires they were welcomed with open arms, as it was a country where everything was still to be done. Argentina was the country of new opportunities, labour was needed and religious freedom was assured, in many cases the of the family travel first until they were settled and then the rest of the family members join them. In the immigrant museum “Ellis Island Immigrant Building” in New York you can se the promotional posters of the boats that would take them to a new life. Between the years 1895 and 1896, Argentina had the highest DGP (gross domestic product) per capita in the world according to the Maddison Historical Statistics index, this situation arose due to the large amount of food being exported to European countries, which were at war. The Argentinean ships left the port of Buenos Aires with food, but they returned with furniture, clothes and construction elements, (it´s common to see this the old buildings of the historic neighbourhood of San Telmo, the beams with the inscription “Made in England)”, as well as many markets that were built in Buenos Aires, such us the San Telmo Market, whose structure was brought by ship and afterwards assembled in 900 Defensa Street. With the great influence of European immigrants living in the country, the children of the upper classes travelled to study in France, resulting in the inauguration of “La Maison Argentinienne”, on 27th of June 1928, in the international city of Paris, which hosted many Argentinians that were studying in Frace. It´s the fourth house to be built after France, Canada and Belgium, being the first Spanish-speaking one. Still in place today (17 Bd Jourdan, 75014, Paris, France). Many of the children of these wealthy families who attended international art exhibitions, museums and art courses abroad, took a keen interest in the European style. This is why Buenos Aires was at the time referred as “The Paris of South America”. Between the years 1890 and 1920 more than a hundred Palaces were built on Alvear Avenue the most exclusive avenue in Buenos Aires. Today some of these palaces have been transformed into museums, hotels and embassies. In the year 1936, the Kavanagh building was inaugurated, it was the tallest reinforced concrete building in South America. During 1994 the American Society of Civil Engineers distinguished it as an “international engineering milestone”, and it´s now considered a World Heritage of Modern Architecture. At the time was common to hire foreign architects such as Le Corbusier, who visited Buenos Aires/Argentina in 1929 and in 1948 he drew up the blueprints for a house built in La Plata City (which was declared a World Heritage Site). In 1947, the Hungarian architect Marcelo Breuer designed “Parador Ariston” in the seaside city of Mar del Plata. After an Argentinean student at Harvard University convinced him to come to Argentina. He worked on an urban development project in the Casa Amarilla, area of La Boca. The Ukrainian architect, Vladimiro Acosta, arrives in Argentina in 1928 and worked as an architect until que moved to Brazil. Antonio Bonet, a Spanish architect who worked with Le Corbusier in Paris, arrives in Argentina in 1937, where he carried out several architectural works and in 1938 designs the well-known BFK chair...

Stunning pair of gilt bronze and sandblasted glass sconces with gilt mid-century decor. The sconces feature a beautiful curved sandblasted ...

Constructed from patinated and gilded bronze, the large figures clothed in the Antique style, after the original design by Jean-Joseph Foucou, today residing at the Louvre, posed in ...

Unique The pair of monumental French bronze column torchieres with acanthus leaf gilt bronze mounts, supporting two tiers of acanthus and scro...

The Jewel is elliptical, carefully holding and counterbalancing a negative space with a light-filled cylinder. The sculptural Jewel Lamp has a solid cast b...

Art Deco floor lamp with nickel finish bronze and lacquered wood.

This is a a vintage Venetian hand-blown glass, chandelier with a four-light floor lamp circa 1920-1950. The appraiser says it is unique and could be from Murano. This piece has a st...

A Large and Impressive Italian 19th Century Patinated Bronze Figural Torchere, after a model by Niccolò Roccatagliata (Genoa 1593 - Venice 1636). The triangular foot base with projecting putti supporting the stem and oval reserves within cartouche motifs, one containing the initials "S.D" with an olive tree in-between and a bull-head below. The stem knot with figures of winged caryatids and festoons and upper part with cherub heads, acanthus leaves and egg and bead patterns and topped with a later white glass globe. The decorative system refers to the documented artistic production of the Venetian workshop of Niccolò Roccatagliata and takes inspirational model from the base of the Renaissance bronze of the Scuola Grande di San Teodoro in Venice, a work signed by Andrea del Bartolomeo di Alessandri known as Brescianino. Electrified. Circa: Venice, 1850-1880. RELATED LITERATURE L. Planiscig, Venezianische Bildhauer der Renaissance, Vienna, 1921, figs. 661-664; C. Avery, 'Andrea del Bartolomeo di Alessandri detto il Bresciano" lavator di gettar di Bronzo": candelabri, satiri e battenti', M. Ceriana and V. Avery (eds.), L'Industria artistica del Bronzo del Rinascimento a venezia e nell'Italia settentrionale, Venice, 2008, pp. 233-252. Similar models of this torchere were part of the interior decor collection at the Vanderbilt Mansion in New York (see black and white photo). The Cornelius Vanderbilt II House was a large mansion built in 1883 at 1 West 57th Street in Manhattan, New York City. It occupied the frontage along the west side of Fifth Avenue from West 57th Street up to West 58th Street at Grand Army...

Lovely art deco floor lamp, manufactured in Sweden, 1920s. The lamp consists of a base and rod in bronze, supporting a hook-shaped swivel arm that holds the shade. The lamp has a se...

Elegant precious floor lamp with bronze structure and Bassano ceramic inserts, hand decorated, Gio Ponti style. Number three lights, with overhauled an...

A reduced-height floor lamp intended for use as a reading lamp. Set on a tri foot base featuring tapered fluting which resonates in the art deco movement. The hilt is realized in a s...

This is the large version of the sky floor lamp. The light colored cement base was made with forms taken from actual stones from the Isle of Skye. The arm is...

Neo Gothic bronze architectural fragment mounted as lamp.

Italian Renaissance style bronze floor lamp. Torchiere form lamp in Grand Tour style Circa 1900, baluster shaft with mermaid and amorini decorations, tripod mermaid and swag legs, ra...

A floor lamp with a tri foot base featuring tapered fluting which resonates in the art deco movement. The hilt is realized in a series of subtly contrasting brass and bronze bands. T...

This is the medium version of the Skye floor lamp. This dark colored cement base was made with forms taken from actual stones from the Isle of Skye. Th...

Bronze and Glass Art Deco Floor Lamp can be proposed with nickel finish, Gold finish or old bronze.

This tall Torchere was produced by Frances Elkins The gilding has a lovely aged patina with some loss. The casting is crisp and true to the original d...

Inspired by the Studio Job’s “Robber Baron” bronze sculpture from 2008, this much more simplified version is an 85-centimeters-high reduced model of the S...

This impressive floor lamp hails from France, circa 1940s, and is a beautiful blend of brass and bronze. The lamp features turned and cast components that are elegantly assembled onto a hexagonal base...

The Feather floor lamp, edition piece by A Modern Grand Tour. An illuminating palm tree, resplendent with exquisite ostrich feather foliage, the feather floor lamp takes centre stage in any luxury setting and delivers the ultimate midas touch...

The elegant and delicate look of the blown glass finds a new dimension in Jube. Two glass units placed side by side, so perfectly assembled, that they look like a unique piece. A sin...

Kiotika is a limited edition bronze sculpture and floor lamp by French contemporary artist Jacques Owczarek. The indicated dimensions refer to the...

Magnificent pair of floor lamps in cast and chiseled gilt bronze and patinated brass. Gorgeous base with very pretty bronze features. It is cast in a triangular molded shape with thr...

The elegant and delicate look of the blown glass finds a new dimension in Jube. Two glass units placed side by side, so perfectly assembled, that they look like a unique piece. A sin...

The elegant and delicate look of the blown glass finds a new dimension in Jube. Two glass units placed side by side, so perfectly assembled, that they look like a unique piece. A sin...

The elegant and delicate look of the blown glass finds a new dimension in Jube. Two glass units placed side by side, so perfectly assembled, that they look like a unique piece. A sin...

This is an unusual floor lamp from the 1930's in dark green and gold colors. The base is made in bronze and followed by cepramic and bronze detailing to be continued with a stem that...

A Pair of Gilt and Patinated Bronze Figural Five-Light Candelabra Cast by Barbedienne after the Models by Alexandre Falguière and Paul Dubois. Signed ‘FALGUIERE’ and ‘P. DUBOIS’ ...

Lampada da terra stile Stilnovo Gold - Design - Anno: 2010 circa Stato: Perfetto Stato Misure: Cm 180 Floor Lamp Gold Style Stilnovo...

Floor Lamp gilded palmer triple with structure in steel in gold finish. Black lacquered base. Three bough palmer. Vintage style made in France. Base dimensions: L 33 x D 33 x H 25cm.

Pascal floor lamp by Vico Magistretti for Oluce. Originally designed in Italy, 1983. Oluce's newest offering of this model comes ...

Introducing Fauchard, the new floor lamp design by Blueprint Lighting NYC. Fauchard is an elegantly proportioned piece of functional sculpture designed to lean in a corner, unassumin...

Smoke grey / gold blown crystal glass floor lamp, Phenomena by Dechem Studio for Bomma. The name chosen for this BOMMA collection, inspired by basic geometric shapes, comes from t...

Bronze Art Deco Floor Lamp can be proposed with nickel finish, Gold finish or old bronze.

The Feather floor lamp, edition piece by A Modern Grand Tour. An illuminating palm tree, resplendent with exquisite ostrich feather foliage, the feather floor lamp takes centre stage in any luxury setting and delivers the ultimate midas touch...

An Art Nouveau Japonisme bronze Heron floor lamp French, Early 20th century Measures: 176cm high x 65cm wide x 70cm depth Combining Art Nouveau w...

A chic neoclassical floor lamp in bronze and gunmetal by Henri Petitot for Atelier Petitot. French, c. 1930s. Supplied with an off white dupion silk shade.

Six lamp ceiling lamp Art Nouveau French in bronze from the 19th century, relief decoration "Vegetable motifs", glass tulips. Height: 120 cm good conditions.

Lovely matched pair of Bronze Neoclassical Floor Lamps, in the Tiffany style with period wiring. Unmarked but similar to Tiffany floor lamps (l...