Robert Sonneman Triple Eyeball Floor Lamp, , Chrome Ball Globes

Though Robert Sonneman was quite literally born into the lighting business, it took working for another celebrated lighting maker for him to land upon the kind of boundary-pushing modernism for which the New York–based designer is known today.

At the age of 19, fresh off a stint in the U.S. Navy, Sonneman responded to an ad for a position working in the studio of George Kovacs on Manhattan’s Upper East Side, where he became the sole employee. “Although my parents were in the lighting business, they came from a traditional perspective, and Kovacs introduced me to modernism,” Sonneman once said. “It was 1961, and I was immediately captured by the movement.”

While working for Kovacs, Sonneman became captivated by the work of the Bauhaus, and he began experimenting with the influential art and design school’s ideas of functional simplicity in lighting. In 1967, he opened his own studio.

Though Sonneman Design Group produced furniture for a brief time, the designer eventually elected to focus on the one category that had always fascinated him; the brand became known for its floor lamps, sconces, pendants and chandeliers that feature unconventional treatments toward shape and balance, often inspired by modern architecture. Sonneman once said of his work: “I saw the lamps that I built as lighting machines that glorified the industrial aesthetic.”

Indeed, in the spirit of Bauhaus functionality — Sonneman has also cited Mies van der Rohe as being an inspiration — the designer’s work takes function-centric forms and motifs and elevates them while prioritizing technology. This spirit of forward thinking continues today, as Sonneman’s brand, renamed SONNEMAN – A Way of Light in 2003, works with LED bulbs to continue to push the boundaries of what functional lighting can achieve aesthetically.

Current-day releases by SONNEMAN – A Way of Light (still overseen by Sonneman himself) feature 95 percent LED lights and include interior and exterior lighting as well as modular suspended lights as an alternative to track lighting. Sonneman’s vintage pieces, however, are still widely collected on the secondary market.

Find vintage Robert Sonneman lighting on 1stDibs.

Few had their finger on the pulse of American furniture like importer and distributor Raymor. Founder Irving Richards first had his eyes opened to the world of furniture while attending the 1928 Salon d’Automne art and design fair in Paris. He joined Lightolier two years later and developed its business relationships, including with designer Russel Wright.

Wright and Richards met in 1935 and Russel Wright, Inc. was formed in 1936. Its American Modern ceramic tableware, produced under the name Wright Accessories in 1938, was a notably lucrative collaboration. Following the early success of American Modern, Richards obtained the majority share of Wright Accessories and changed its name to Raymor Mfg Division Inc. in 1941.

By 1952, the exclusivity over American Modern had ended (the line was initially produced by Wright Associates and later manufactured by Steubenville for two decades). To keep up with American markets, Raymor worked with prominent designers such as George Nelson, Ray and Charles Eames, and Hans J. Wegner.

The company’s imports expanded to Denmark, which contributed to the rise of Scandinavian modern designs in the American market. Throughout the 1950s, Richards established relationships with factories in Scandinavia, Italy and Germany, as well as with the influential tastemaker and importer Charles Stendig.

The furniture company Simmons bought Raymor in 1963 and changed its name to Raymor Richards, Morgenthau Inc. in 1969. During that time, Raymor’s Omnibus range of Scandinavian-style wall units became widely popular, along with Italian glass and pottery like Bitossi ceramics designed by Aldo Londi and Bagni ceramics by Alvino Bagni. 

Shifting styles coupled with rising competition, and the departure of Richards from the company, ended Raymor. By the late 1970s, Raymor faced a wave of international factories able to produce similar products of lesser quality for a lower cost. Buyers were eager to frequently change their interior styles, limiting the need for high-end, durable furniture, which Raymor had been importing. 

On 1stDibs, find a collection of vintage Raymor ceramics, lamps, decorative objects and more.