Ceramic Lighting

LIZ O'BRIEN EDITIONS The Column Lamp Cylindrical handmade terracotta lamps with double light cluster. Lampshade not included. Made expressly for Liz O'Brien in France.

Alice Gavalet, table lamp Loulou, 2015, glazed ceramic, patina steel, signed, unique piece. Measures: 96 X 35 cm. Alice Gavalet. Born in 1978, France. Education 2003 Diploma in Industrial Design, Ecole Nationale Supe´rieure des Arts De´coratifs, Paris. 1999 BTS Ceramic art, Ecole Nationale Supe´rieure des Arts Applique´s et des Me´tiers d'Art Olivier De Serres, Paris. Elisabeth Garouste's assistant. Freelance product designer since 2003: Art of the table range for A380 Singapore airlines first class and Givenchy's business class. Tableware objects for Kenzo house Limoges porcelain object's range for Guy Degrenne.

Contemporary pair of black and white zig-zag pattern pyramid shape lamps. Base is 6" x 6", top is 4" x 4". Black linen shades. Shade diameter is 20". Maximum wattage is 100 watts.

Hand-coiled and gilded sand-blasted pillow floor lamps by Andrea Koeppel. Dimensions include custom vellum shades. Total height w shade: 69.5 in. Height to top of hardware: 60 in. d...

A beautiful pair of unglazed Han dynasty style vases of a very elegant form. Expectedly mounted as lamps. High quality mount with a brass adjustable pivot joint. Shade handmade in Be...

A beautiful pair of unglazed Han dynasty style vases of a very elegant form. Expectedly mounted as lamps. High quality mount with a brass adjustable pivot joint. Shade handmade in Be...

Presenting a pair of mid-century floor lamps that seamlessly blend Southwestern and Mexican motifs with sleek mid-century design. Each lamp features hand-painted patterns inspired by...

Bespoke Ceramic Ondulée Lamp with Brass Fittings. This lamp can be customized to your specifications. Lead Time is up to 12 weeks. One lamp is currently available.

Pair of Bespoke French Ceramic Froissé Sconces- please note these sconces are completely customizable size, design and ceramic color and finish can all be customized- please inquire...

Pair of French Bespoke Hand-Crafted Ceramic Sconces. Set of 2. Sconces are customizable - and may be crafted in any finish and shape. We can provide you with a sample of ceramic fin...

Pair of Bespoke Hand-crafted French Ceramic Sconces. These sconces are customizable - and may be crafted in any finish and shape. We can provide you with sample of ceramic finishes. ...

Anton mini in ceramic by Volker Haug. Anton series. Dimensions: Ø 13 x D 8 cm. Materials: Cast Ceramic. Glaze: Clear. Lamp: G9 LED (240V / 120V US). 12V option available. Glass bulb...

Antigone Pendant Lamp by Elsa Foulon Standard size Dimensions: D 55-60 cm Materials: ceramic, brass Unique piece Also available in different options: bowl or cup (lower part). The h...

A beautiful pair of unglazed Han dynasty style vases of very elegant baluster form. Expectedly mounted as lamps. High quality mount with a brass adjustable pivot joint. Shade handmad...

Pair of Hand-Painted Ceramic Lamps with Red Flower Decoration

Kat & Roger Table Lamp with hand-crafted and hand-painted ceramic base, USA. Measurements given apply to the base of the lamp. Nestled amidst the serene landscapes of Southern Cali...

Stunning ceramic light No.12, designed and handcrafted by Los Angeles based ceramicist Heather Levine. High fired stoneware with matte white glaze on a cork colored clay body with de...

Bespoke Pair of French Sculptural Raku Ceramic Cubist Lamps made exclusively for Lerebours Antiques by French ceramicist, Barbara Billoud. Set of 2. Lead Time is 11-12 weeks. One pai...

Contemporary Chinese pair of white round shaped base lamps. Boucle shades included. Base diameter 9" Base height 13" Shade diameter 16" Overall height 22.5"

A large baluster form jar with glossy Celadon glaze. The jars are finished with a pickled oak stopper and polished brass fittings. Currently wired for the UK. Shades not inclu...

Pair of table or bedside Cone lamps in natural colore ceramic terracotta, nice raffia rattan shades made for by the Italian artist design Antonio Cagianelli. Sign monogram AC. Edition Stanislas Reboul...

Matte Five-Legged Terracotta base with Rust Alpaca silk shade Estimated processing time is 4-6 weeks from order confirmation Pictured with a Mini Globe LED E27 Bulb. Bulb not i...

Pair of David Whitehead French ceramic artist working wood fired ceramic table lamps. Whitehead works in the famous pottery village of La Borne where he fires all of his work in woo...

In a career spanning over 30 years, New York City artist Christopher Russell has devoted himself to creating unique works of art, functional design, custom architectural elements, and large-scale commissions in an ever-expanding exploration of clay, his principal medium. Originally focused on painting and drawing, Russell was attracted to the malleable properties and endless possibilities of clay, which can traverse the divide between functional and purely aesthetic. Initially translating his draftsmanship to decorative graphic tiles, his work eventually progressed into hand-built sculpture, and most recently decorative vessels. His latest works are dynamic in structure and decoration. With a concentration on hand-building, something the artist attributes to a familial connection to architecture, engineering, and contracting, Russell eschews throwing pots “on the wheel”. While his geometrically rigid vessels look meticulously planned, the process is generally spontaneous. Process dictates the abstracted forms, but the ultimate goal is largely towards harmony, balance, and symmetry. Most notable in the recent works is Russell’s energetic surface ornamentation. Patchworks of simple shapes, in hues ranging from natural to artificial, jostle and hug to create cubist patterns akin to pictographs. A combination of black and white underglazes acts as a ground for his precise application of colored glazes, each individually developed by the artist. Employing stencil resists and decorative sgraffito results in work with an unexpected sense of depth. Equally varied are the competing textures that converge across each surface. Russell affirms that “Texture is the most visceral element in ceramics. It’s the thing that makes you want to touch. There’s design, color and form, but it’s texture that gives a piece its physical life”. Conclusively the agony and joy in his ceramic practice comes from what is left to chance. Best laid plans are at the mercy of the kiln, making each work a risky venture and each success a treasurable object. Russell has been the subject of solo shows at the Everson Museum of Art in Syracuse NY, and the Daum Museum of Contemporary Art in Sedalie WI. His work has also been exhibited widely in group exhibitions, including at The Bernardaud Foundation in Limoges, France, the Royal West Academy in Bristol, England, the Paul Robeson Gallery at Rutgers University, and WaveHill, the prestigious public gardens in The Bronx, New York. Among numerous private collections his work is also in the collection of Longhouse Reserve: The Jack Lenor Larsen Estate. Notable commissions include a large-scale ceramic wall mural...

In a career spanning over 30 years, New York City artist Christopher Russell has devoted himself to creating unique works of art, functional design, custom architectural elements, and large-scale commissions in an ever-expanding exploration of clay, his principal medium. Originally focused on painting and drawing, Russell was attracted to the malleable properties and endless possibilities of clay, which can traverse the divide between functional and purely aesthetic. Initially translating his draftsmanship to decorative graphic tiles, his work eventually progressed into hand-built sculpture, and most recently decorative vessels. His latest works are dynamic in structure and decoration. With a concentration on hand-building, something the artist attributes to a familial connection to architecture, engineering, and contracting, Russell eschews throwing pots “on the wheel”. While his geometrically rigid vessels look meticulously planned, the process is generally spontaneous. Process dictates the abstracted forms, but the ultimate goal is largely towards harmony, balance, and symmetry. Most notable in the recent works is Russell’s energetic surface ornamentation. Patchworks of simple shapes, in hues ranging from natural to artificial, jostle and hug to create cubist patterns akin to pictographs. A combination of black and white underglazes acts as a ground for his precise application of colored glazes, each individually developed by the artist. Employing stencil resists and decorative sgraffito results in work with an unexpected sense of depth. Equally varied are the competing textures that converge across each surface. Russell affirms that “Texture is the most visceral element in ceramics. It’s the thing that makes you want to touch. There’s design, color and form, but it’s texture that gives a piece its physical life.” Conclusively the agony and joy in his ceramic practice comes from what is left to chance. Best laid plans are at the mercy of the kiln, making each work a risky venture and each success a treasurable object. Russell has been the subject of solo shows at the Everson Museum of Art in Syracuse NY, and the Daum Museum of Contemporary Art in Sedalie WI. His work has also been exhibited widely in group exhibitions, including at The Bernardaud Foundation in Limoges, France, the Royal West Academy in Bristol, England, the Paul Robeson Gallery at Rutgers University, and WaveHill, the prestigious public gardens in The Bronx, New York. Among numerous private collections his work is also in the collection of Longhouse Reserve: The Jack Lenor Larsen Estate. Notable commissions include a large-scale ceramic wall mural...

In a career spanning over 30 years, New York City artist Christopher Russell has devoted himself to creating unique works of art, functional design, custom architectural elements, and large-scale commissions in an ever-expanding exploration of clay, his principal medium. Originally focused on painting and drawing, Russell was attracted to the malleable properties and endless possibilities of clay, which can traverse the divide between functional and purely aesthetic. Initially translating his draftsmanship to decorative graphic tiles, his work eventually progressed into hand-built sculpture, and most recently decorative vessels. His latest works are dynamic in structure and decoration. With a concentration on hand-building, something the artist attributes to a familial connection to architecture, engineering, and contracting, Russell eschews throwing pots “on the wheel”. While his geometrically rigid vessels look meticulously planned, the process is generally spontaneous. Process dictates the abstracted forms, but the ultimate goal is largely towards harmony, balance, and symmetry. Most notable in the recent works is Russell’s energetic surface ornamentation. Patchworks of simple shapes, in hues ranging from natural to artificial, jostle and hug to create cubist patterns akin to pictographs. A combination of black and white underglazes acts as a ground for his precise application of colored glazes, each individually developed by the artist. Employing stencil resists and decorative sgraffito results in work with an unexpected sense of depth. Equally varied are the competing textures that converge across each surface. Russell affirms that “Texture is the most visceral element in ceramics. It’s the thing that makes you want to touch. There’s design, color and form, but it’s texture that gives a piece its physical life.” Conclusively the agony and joy in his ceramic practice comes from what is left to chance. Best laid plans are at the mercy of the kiln, making each work a risky venture and each success a treasurable object. Russell has been the subject of solo shows at the Everson Museum of Art in Syracuse NY, and the Daum Museum of Contemporary Art in Sedalie WI. His work has also been exhibited widely in group exhibitions, including at The Bernardaud Foundation in Limoges, France, the Royal West Academy in Bristol, England, the Paul Robeson Gallery at Rutgers University, and WaveHill, the prestigious public gardens in The Bronx, New York. Among numerous private collections his work is also in the collection of Longhouse Reserve: The Jack Lenor Larsen Estate. Notable commissions include a large-scale ceramic wall mural...

In a career spanning over 30 years, New York City artist Christopher Russell has devoted himself to creating unique works of art, functional design, custom architectural elements, and large-scale commissions in an ever-expanding exploration of clay, his principal medium. Originally focused on painting and drawing, Russell was attracted to the malleable properties and endless possibilities of clay, which can traverse the divide between functional and purely aesthetic. Initially translating his draftsmanship to decorative graphic tiles, his work eventually progressed into hand-built sculpture, and most recently decorative vessels. His latest works are dynamic in structure and decoration. With a concentration on hand-building, something the artist attributes to a familial connection to architecture, engineering, and contracting, Russell eschews throwing pots “on the wheel”. While his geometrically rigid vessels look meticulously planned, the process is generally spontaneous. Process dictates the abstracted forms, but the ultimate goal is largely towards harmony, balance, and symmetry. Most notable in the recent works is Russell’s energetic surface ornamentation. Patchworks of simple shapes, in hues ranging from natural to artificial, jostle and hug to create cubist patterns akin to pictographs. A combination of black and white underglazes acts as a ground for his precise application of colored glazes, each individually developed by the artist. Employing stencil resists and decorative sgraffito results in work with an unexpected sense of depth. Equally varied are the competing textures that converge across each surface. Russell affirms that “Texture is the most visceral element in ceramics. It’s the thing that makes you want to touch. There’s design, color and form, but it’s texture that gives a piece its physical life.” Conclusively the agony and joy in his ceramic practice comes from what is left to chance. Best laid plans are at the mercy of the kiln, making each work a risky venture and each success a treasurable object. Russell has been the subject of solo shows at the Everson Museum of Art in Syracuse NY, and the Daum Museum of Contemporary Art in Sedalie WI. His work has also been exhibited widely in group exhibitions, including at The Bernardaud Foundation in Limoges, France, the Royal West Academy in Bristol, England, the Paul Robeson Gallery at Rutgers University, and WaveHill, the prestigious public gardens in The Bronx, New York. Among numerous private collections his work is also in the collection of Longhouse Reserve: The Jack Lenor Larsen Estate. Notable commissions include a large-scale ceramic wall mural...

A black ceramic table lamp by Denis Castaing. Perfect original conditions. Sold with a new European electrical system. 2022.

We have a nice collection of these simple brass and porcelain sconces. This is as simple and elegant as it gets. It also includes a unique c...

"Delight" table lamp, 2019. Handmade ceramic, Handblown glass. Designed by Pierre Yovanovitch, Paris.

Amsterdam-based artist and designer Maarten Vrolijk believes that art should make people’s everyday lives more beautiful through the many little details that evoke the unexpected. Wh...

Todd Merrill Studio began representing Finnish artist Teemu Salonen in 2019. Teemu Salonen’s iconoclastic work is an active renunciation of the simple lines and unadorned nature perv...

Finnish designer Teemu Salonen’s iconoclastic work is an active renunciation of the simple lines and unadorned nature pervasive in the Scandinavian design that surrounds him. Placing form over function, he sees his studio practice as both experimentation and play, where a variety of materials and techniques can be merged to create unique objects of sculptural design. For Salonen, making things by hand is an essential part of his identity as a designer. His years of experience as a curator in visual arts, coupled with degrees in carpentry and craft design, have developed into a singular perspective that marries elements of both classical and kitsch design. The sophisticated is skillfully laced with ostentatious elements of flourish, effortlessly rolled into one asymmetrical package. The Chinese Restaurant...

Finnish designer Teemu Salonen’s iconoclastic work is an active renunciation of the simple lines and unadorned nature pervasive in the Scandinavian design that surrounds him. Placing form over function, he sees his studio practice as both experimentation and play, where a variety of materials and techniques can be merged to create unique objects of sculptural design. For Salonen, making things by hand is an essential part of his identity as a designer. His years of experience as a curator in visual arts, coupled with degrees in carpentry and craft design, have developed into a singular perspective that marries elements of both classical and kitsch design. The sophisticated is skillfully laced with ostentatious elements of flourish, effortlessly rolled into one asymmetrical package. The Chinese Restaurant...

Finnish designer Teemu Salonen’s iconoclastic work is an active renunciation of the simple lines and unadorned nature pervasive in the Scandinavian design that surrounds him. He sees...

Here you are shown the EU wired, Buenos Aires floor lamp with printed aluminum base, orientable pipes in painted aluminum, and shade in porcelain, designed in 1986, by Aldo Cibic. ...

Here you are shown the US wired, Buenos Aires Floor Lamp with printed aluminum base, orientable pipes in painted aluminum, and shade in porcelain, designed in 1986, by Aldo Cibic. ...

Finnish designer Teemu Salonen’s iconoclastic work is an active renunciation of the simple lines and unadorned nature pervasive in the Scandinavian design that surrounds him. Placing form over function, he sees his studio practice as both experimentation and play, where a variety of materials and techniques can be merged to create unique objects of sculptural design. For Salonen, making things by hand is an essential part of his identity as a designer. His years of experience as a curator in visual arts, coupled with degrees in carpentry and Craft design, have developed into a singular perspective that marries elements of both classical and kitsch design. The sophisticated is skilfully laced with ostentatious elements of flourish, effortlessly rolled into one asymmetrical package. The Chinese Restaurant...

Finnish designer Teemu Salonen’s iconoclastic work is an active renunciation of the simple lines and unadorned nature pervasive in the Scandinavian design that surrounds him. Placing...

A sculptural and biomorphic shaped lamp-base or sculpture in natural warm grey stoneware, stylized form, decorated on front with a stylized visage incised and over-glazed in shiny gr...