2010s Table Lamps

Created to measure by Stan Usel, this pair of twin black resin table lamps inserted with a mixed gold and silver pyrite harbored in each piece gives,...

One of a kind studio built pair of Lamps in black resin with inlaid marcassite by Stan Usel. Exceptional craftsmanship. All pieces can be custom made to order. Signed by the artist,...

A large elegant table lamp by Anasthasia Millot. Anasthasia Millot originally studied fashion design in Paris and her work with fabric has left a lasting -- if indirect -- influen...

This gorgeous original Ulla Darni table lamp is reverse painted on glass with hand-forged iron work having a half moon base. This truly is a one of a kind piece of art. Every time I ...

Pair of lamps with Murano glass eggs. No shade provided. Dimensions given without shade.

Tortoise shell glass lamps. Solid brass hardware. Newly wired.

Pair of table or bedside brass box lamps with Murano glass cube marquetry. Contemporary work from a small italian artisanal design workshop in a Mid-Cen...

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...

Brass table lamps based on an iconic 1970's design. The 'Conchiglia' table lamp, a sculptural luminary, based on the iconic 1970's design by Angelo Brotto for Esperia. The striking lamp comprises a round plinth base, holding a delicate rod of brass, protruding upwards, and spiking through the brass sea urchin 'Conchiglia'. A striking play on proportions and height, further enhanced with the tall cylindrical black silk and Russian braided lamp shades. A wonderful statement in lighting design. Key Points: Italian-made based on the iconic 1970's Angelo Brotto design. Polished brass base with a cast brass sea urchin-inspired sculpture. Tall cylinder shade...

Table lamp 2 & 3 are designed and made by British silversmith Callum Partridge. They are sold separately and the artist is open to commissions. Partridge, chose to work with mild ste...

Icon of Arredoluce, this lamp became history when it was included in the supply that the brand sent to the Kennedy family, and was designed by Angelo Lelii in the early Fifties. It i...

Biny table lamp by Jacques Biny. Current production of table lamp number 231 by Jacques Biny designed and manufactured in France. Steel...

Iconic Atollo model 239 table lamp originally designed by Vico Magistretti for Oluce in 1977. Provides direct light as a table or bedside lamp. All gloss ...

Tripod desk lamp originally designed by Serge Mouille in 1954. This desk lamp is a licensed re-edition from the “Black Shapes” series currently manufa...

Lampe Agrafée Deux Rotules Desk Lamp by Serge Mouille. Manufactured by Editions Serge Mouille. Originally designed by Serge Mouille in France, circa 1957. This is a licensed re-editi...

Iconic Atollo model 238 table lamp originally designed by Vico Magistretti for Oluce in 1977. Provides direct light as a table or bedside lamp. All gloss ...

Double bubble, a new table lamp in machined brass by Carol Egan, is part of a line of furniture that blends digital technology with fine traditional craftsmanship.