Anodized Floor Lamps

Model 1968 floor lamp by Fontana Arte. Designed and manufactured in Italy, circa the 1060s. Slender metal frame floor lamp sits on a cast iron shrink lacquered base. The shade can be...

Plexola floor lamp by Ingo Maurer made by Design M, 1980s. Rare Plexola floor lamp, designed by Ingo Maurer in 1977. Black anodized aluminum base with a transparent Plexiglas in t...

Midcentury Gae Aulenti and Livio Castiglioni "Sistema Trepiù" floor lamp for Stilnovo with 4 engraved signatures, Italy, 1972. Wonderful chromed metal and aluminium with cast iron base floor lamp...

Fully adjustable Bigo floor to ceiling lamp by S.T. Valenti for Italian manufacturer Valenti Luci, 1981 Bigo is a halogen floor lamp equipped with a system of telescopic tubes to ...

Unique Gino Sarfatti Variant floor lamp for Lumen, Italy, 1950s Variation floor lamp with the Arteluce model 3/VT reflectors.

Tripod floor lamp designed and manufactured in Italy, 1950s. The lamp is made of full brass and white milk glass. The diameter of the glass shade is 12 in. There is patina on the ...

Iconic midcentury Gino Sarfatti aluminum chrome Italian Lamp no. 1073. This wonderful item was designed by Gino Sarfatti for an Arteluce production in Italy during 1950s. It is very elegant because it has a cast iron base with wrinkled paint, a chromed steel stem and an anodized aluminum reflector. The perfect item for completing a modern living room. Use E 27 bulb not included. Gino Sarfatti developed nearly 700 floor lamps, chandeliers, spotlights and other “light fittings,” as he called them, between the mid-1930s and early 1970s. During that time, Sarfatti experimented continuously with new types of light sources, wiring, switches, reflectors, transformers and other components to refine his designs, and co-founded a company, Arteluce, to manufacture them. But after selling the business in 1973, he forsook both lighting and design by retiring to Lake Como to pursue another passion, dealing in rare stamps, until his death in 1985. Many of his lights are still in production, but Sarfatti was largely forgotten outside design circles until the opening last month of a retrospective of his work at La Triennale Design Museum in Milan. Running through Nov. 17, it celebrates the centenary of his birth by exhibiting 200 of his “light fittings,” including some that he used in his home. Fittingly for the man who printed “Gino Sarfatti — Lighting razionale” (rational lighting) on the stationery of his first workshop, his output is presented simply and lucidly in a large open-plan space at La Triennale. Curated by the Italian designers, MarCo Romanelli and Sandra Severi Sarfatti, who is Sarfatti’s daughter-in-law, the exhibition is divided into three sections: 1936-1945, 1946-1961 and 1962-1973. The lights from each era, including ones owned by the Sarfatti family and the French collectors, Clémence and Didier Krzentowski, as well as Flos, the Italian lighting company that bought Arteluce, are one after another on white backdrops, making it easy to identify Sarfatti’s preoccupations during particular periods and to trace the progress of his experiments with various themes over the years. The result is a rousing tribute to an unusually inventive designer. Most of his peers entered design after studying art or architecture, but Sarfatti’s roots were in engineering, which defined his way of working. Born in Venice, he planned to become an aeronautical engineer, but had to leave university when his father’s business failed. The family moved to Milan and Sarfatti took a job as a salesman to help to make ends meet. He designed his first lamp by default when a family friend asked him to turn a glass vase into one. Sarfatti placed a lighting fixture from a coffee machine inside the vase, and was so intrigued by the process that he opened the “rational lighting” workshop to produce more lights. Image Gino Sarfatti forsook lighting and design by retiring to Lake Como to pursue another passion, dealing in rare stamps. Gino Sarfatti forsook lighting and design by retiring to Lake Como to pursue another passion, dealing in rare stamps. Credit...Archivio Storico Flos Bereft of conventional training, he had to improvise and developed each product by working directly with the artisans in the workshop, rather than by sketching ideas and leaving them to produce models or prototypes, as most other designers did at the time. By doing so, he steeped himself in the technical logistics of lighting production and was able to use that knowledge to devise increasingly ingenious ways of constructing different lights and in making the most of Italy’s enviable network of specialist suppliers and fabricators. In 1939, only a few years after making his first light, Sarfatti co-founded Arteluce. When Milan was bombed during World War II, he moved production to Brianza in the foothills of the Alps and lived there with his family, before fleeing to Switzerland. His father was Jewish and the Sarfattis were fearful of the threat of persecution by Italy’s fascist...

Exceptional and elegant three-flamed Mid-Century Modern floor lamp. Manufactured probably in Germany, 1950s. Executed in brass anodized, perforated metal sheet and tube, the lamp ...

Midcentury Gae Aulenti and Livio Castiglioni "Sistema Trepiù" floor lamp for Stilnovo with 4 engraved signatures, Italy, 1972. Wonderful chromed m...

This is an especially stylish design from the upmarket American lighting manufacturer, Stiffel, as it clearly reaches for the stars as an homage to Max Ingrand's 1957 model 1692 from...

Italian brass floor lamp by Tonello and Montagna Grillo for High Society, circa 1970 on sculptural base. Elegant brass casting floor lamp. Measures: Shade diameter 20 in.

Sistema Trepiù floor lamp by Gae Aulenti and Livio Castiglioni for Stilnovo (4 incised signature), Italy 1972. Impressive floor lamp with four round...