Metal Floor Lamps

Great O.C.White floor lamp. This lamp has been rewired and is in nice vintage condition. Will look good in any decor.

An exceptional antique French brass and marble floor lamp, dating from around the 1910-20’s. This is of outstanding quality, with incredibly f...

This incredible floor lamp has so many areas of interest that make it so special. The base, which we believe was done by Bradley & Hubbard, detailed castings of several characters. ...

Fabulous and early O C White industrial floor lamp in brass. Shade by Hubbell. Dated 1902 in the neck of the shade. Signed oc white on adjustable mechanism. Lots of patina. Will be r...

Early 1900s bronze, brass and enameled brass articulating reading floor lamp. Small footprint. Featuring an adjustable (45H-66H) Brass and Black enameled Brass Stem, Latch operates S...

A unique counterbalance reading floor lamp in French art nouveau style featuring a highly detailed bronze base with an arrow shaped center support and an arrow shaped light arm. Come...

Wrought iron floor lamp with hexagonal mica panel shade. Scroll and foliate three foot base topped with a "sprouting" poppy motif. Circa 1910-20. Good overall condition. All welds ...

A truly stunning pair of bronze figural torcheres set on fluted Doric column bases later converted to electricity, circa 1910 in date The ladies are a...

A wonderful original antique rise and fall lamp in solid brass. This was made in France, it dates from the 1910-1920’s period. This is of...

This brass floor lamp with an ivory Empire lampshade was made in France, circa 1910. It features a streamlined silhouette anchored by clean lines. In the lower half, a quartet of sli...

A beautiful, top quality vintage lamp stand in solid brass. This dates from circa 1910s-1920s, it has a stunning design and is really well made. The central column can be raised and ...

A Tiffany Studios counter balance floor lamp with a leaded green slag glass shade. Shade is 12 sided, each side with a large central panel, and smaller panel above and below. Top of shade in patinated bronze with pattern of “J” shaped fenestrations. Shade measures 9 - 1/2” in diameter. Condition: Excellent, free of any cracks, breaks, chips or repairs. Signed "Tiffany Studios New York 1963". The base is a bronze Tiffany Studios counterbalance floor base, with a reddish-brown patina. The base currently stands 56” tall. Both ratchet socket and socket arm are adjustable (both function flawlessly). The base is in excellent condition with no breaks, dents, or appreciable loss to patina. Underside is signed "Tiffany Studios New York 676". AVANTIQUES is dedicated to providing an exclusive curated collection of Fine Arts, Paintings, Bronzes, Asian treasures, Art Glass and Antiques. Our inventory represents time-tested investment quality items with everlasting decorative beauty. We look forward to your business and appreciate any reasonable offers. All of our curated items are vetted and guaranteed authentic and as described. Avantiques only deals in original antiques and never reproductions. We stand behind our treasures with a full money back returns if the items are not as described. Tiffany was the president and art director, the primary figure driving all production, artistically and technically. Tiffany, of course, was the son of Charles Lewis Tiffany (1812-1902), founder of the successful and influential jewelry firm, Tiffany & Co. Louis Tiffany advanced his reputation by his own name and his father’s. Tiffany once reportedly stated: “Go after the money there is in art, but the art will be there just the same.” These words are the sentiment of an artist who created a marketing machine, but who in the end allowed the artistic side to rule. Louis Tiffany’s financial backers, mainly his father, were called upon time and again to keep his companies solvent. His familial ties facilitated prominence at international expositions, a decided advantage for a young artist with big ambitions. His firms always exhibited aside Tiffany & Co. Louis Tiffany, therefore, was able to enhance the marketability of his own wares by capitalizing on the Tiffany name established by his father. Louis Tiffany’s studio system was not a simple enterprise; he needed specialized workers to accomplish his goals. Under Tiffany’s watch, teams of talented designers and craftspeople translated his all-encompassing vision into the beautiful objects blown-glass vases, leaded-glass windows and lamps, pottery, jewelry, and more, that captivated an era. He publicly credited a number of these individuals for their work. In the Synopsis of the Exhibit of the Tiffany Glass and Decorating Company from the World’s Columbian Exposition in 1893, for example published by Tiffany Glass and Decorating Company and freely distributed Will H. Low (1853-1932) and Lydia Emmet (1866-1952) are cited beneath pictures of their designs. Other important designers at Tiffany’s company included Frederick Wilson (1858-1932), Joseph Lauber (1855-1948), Edward P. Sperry (d. 1925), Agnes Fairchild Northrop (1857-1953), Alice Carmen Gouvy (circa 1870-1924), and Clara Driscoll (1861-1944). Neither Tiffany Studios nor the Tiffany companies preceding it were created to function as guilds where individual artists are equally recognized. They were designed in the historic tradition of studios that produced works under the name of an established artist. Providing a portrait of Tiffany’s career, including his companies, is complicated. Scholars rely on surviving business records and personal accounts of individual employees to glean facts and insights. The discovery in the early 2000s of a Trove of letters written by Clara Driscoll, a talented designer who supervised the Women’s Glass...