American Table Lamps

Very elegant pair of Monochromatic table lamps with a silver stripped ribbon and speckled black pattern. Height is 22 to top of the socket. In excellent vintage condition with minima...

German modern Peill & Putzler for Koch & Lowy white glass table lamp with illuminated base. Featuring an elliptical translucent Glass form with interior light. Versatile. Desk. Den. ...

Adjustable desk, reading lamp. Classic Post Modern design in the Italian School.

Pair of midcentury wood, brass and brushed steel lamps in the manner of Karl Springer.

Table lamp covered in brown whip snake with bronze hardware by Karl Springer, American, 1980s. A clean timeless form in an exotic luxurious material. Classic Karl Springer.

A pair of table lamps by Chapman. These sculptural lamps are solid brass with oak at the base. Retains the paper labels and are dated 1987 New white linen shades

High polished chrome lamp in a cylinder form ,black shade included.1980s

Cool and elegant deco table lamp signed in the bottom Waylande Gregory.

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...

Beautiful pair of white glazed ceramic Lauren Ralph Lauren table lamps with white canvas shades, double gourd bodies and brand plaque at wooden bases. Tested for working order. Measu...

So proud to offer a lamp made by the legendary lamp maker Richard Lindley. He had a shop on Melrose Place in Los Angeles in the 60s and 70s and made custom lamps for the most famous ...

Very rare, hand-sculpted and signed table lamp by Gordon and Jane Martz for Marshall Studios. This is a collector's item and great example of their work.

Pair of Spitzmiller Style Modern Ceramic Lamps. Provenance: From a Thad Hayes-designed 15 Central Park West private residence. Dealer: S138XX

each with flaring neck above a bulbous body; the textured surface covered in a deeply colored blue and teal drip glaze

Unique Hand-Made American Walnut Table Lamp, United States, c. 1950 Unique looking table lamp with cool, handmade details. Additional Information: Materials: American Walnut, Aged ...

True to form, Alex Roskin’s LED sculptural lamp, in brass and marble, has the same perfectly proportioned curves as his unique bronze and steel furniture pieces. Internal LEDs bounce...

I called this lamp Mid-Century but can't say when it was made. I also listed it as a table lamp but its large enough to be a small floor lamp. The Wine glass shaped shade is frosted ...

A matte & tan stoneware lamp with a teak turned wood neck by Gordon & Jane Martz for Marshall Studios. Etched Martz. Rewired. Shade not included.

PAIR of Contemporary American ceramic table lamps in ovoid form with extended brushed pewter metal stems and beaded light switch sockets, topped by spindle finials. The ceramic bodie...

UN/RAW is a series of lighting sculptures that combine organic material and metal pieces to represent co-existence as a natural outcome of passing time on earth. Each piece tells an ...

A pair of tall palm wood lamps from the iconic Hollywood Prop House which had a reputation for craftsmanship and creating pieces that were built to last...

Pair of "Greek Column Table Lamps" in solid lucite with brass hardware by Karl Springer, American 1980's. The cords are embedded into the sides of the lamps so they are invisible wh...

Pair of conical pierced metal table lamps with original pierced metal shades. Overall dimensions measured with shade. Measures: shade: 16" dia. x 8" high. base: 6" dia. x 20.5...

The Somerset Table lamps-- A pair of table lamps with peridot and aquamarine transparent cast resin sections with smokey topaz dividers forming bamboo-shaped lamp bases. Each lamp ca...

Offered here are a pair of Sirmos designed and made table lamps. Both have labels on their underside. In brushed stainless steel, with the center a framed laser cut scroll work des...

"Metal Ball Lamp" in polished chrome with pleated silver shade by Karl Springer, American 1980's This artisan lamp is impeccably crafted. Reference: K...

A unique and decorative lamp depicting a tortoise shell butterfly on a custom silver plate base. Provides a touch of ambient light when lit. Note the antennae made from safety pins....

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...

Brooklyn based Stefan Rurak’s unique vision and process stems from a diverse range of media, ranging from things as conventional as drawing and painting to performance art. “The work...

Brooklyn based Stefan Rurak’s unique vision and process stems from a diverse range of media, ranging from things as conventional as drawing and painting to performance art. “The work...

Brooklyn based Stefan Rurak’s unique vision and process stems from a diverse range of media, ranging from things as conventional as drawing and painting to performance art. “The work...

Brooklyn based Stefan Rurak’s unique vision and process stems from a diverse range of media, ranging from things as conventional as drawing and painting to performance art. “The work...

Postmodern glass & brass table lamp circa 1985. (The shade is not included).

A stylish E. F. Chapman Table Lamp by Visual Comfort and Co in excellent condition. It Comes with shade and Shade is 13" in diameter at the top and 9" Diameter base. Lamp is 24" ta...

This STACKED Tabletop Lamp is the newest exploration in Richard's signature lighting. As with all of his work, this sculpture was built, sculpted, and fi...

A matte dark brown table lamp by Jane and Gordon Martz for Marshall Studios. Stoneware base with teak neck and finial. Etched “Martz” on the back. Rewired. Complete with a beautiful hand-crafted shade, in the original style and made from a luxurious Sandra Jordan Prima Alpaca quinoa colored fabric from the Sonoma Coast...

True to form, Alex Roskin’s LED sculptural lamp, in brass, has the same perfectly proportioned curves as his unique bronze and steel furniture pieces. Internal LEDs bounce off of the...

John Procario’s exploration of scaled-down table top works, titled Luminaires, take on a new dimension with Luminaire III. Using the same construction process as his large scale Free...

John Procario’s exploration of scaled-down table top works, titled Luminaires, take on a new dimension with Luminaire III. Using the same construction process as his large scale Free...

John Procario’s exploration of scaled-down table top works, titled Luminaires, take on a new dimension with Luminaire III. Using the same construction process as his large scale Free...

This is a sculptural wide heavy lamp shaped as a rectangular block in the lower part and as a ninety degree angle semi-tunnel in the upper part. Both parts are joined by a solid rect...

A pair of architectural shaped table lamps in green, white and transparent Lucite pieces. They come with a unique matching rectangular shade in acrylic. The lamp holders are made o...

Materials: Brass and glass Dimensions: 4 x 4 x 14"

Neal Small White Lucite and Transparent Illuminated Table Lamp - Light Sculpture. Featuring a rectangular White opaque Lucite base with enclosed...