Glazed Table Lamps

In the middle of the 20th century, Jacques Blin developed a new technique with Jean Rustin, etching creations on his clay before firing, adding to these designs later with glaze and ...

Boba Mini Donna II Table Lamp by Curvy World Studio Handmade Dimensions: D 10 x W 20 x H 24 cm. Materials: White stoneware, orange glaze, electric system, dimmable e27 bulb, textile ...

Boba Mini Donna I Table Lamp by Curvy World Studio Handmade Dimensions: D 10 x W 20 x H 24 cm. Materials: White stoneware, orange glaze, electric system, dimmable e27 bulb, textile c...

This Porous Ceramic TableTop Lamp is perfect for providing a calm ambience in your home. With 3 different light settings, you simply touch the aluminium base of the lamp to make ...

Unique Glazed Ceramic Table Lamp in the Shape of a Seahorse, France, 20th Century Unique table lamp in the shape of a seahorse perched on a starfish; nautical yet modern with expres...

An original ship's oil lantern that has been converted to electricity, which can be used either as a table lamp or hanging lamp. The glass has bubbles and inclusions consistent wi...

A robust, hand-painted and richly glazed table lamp atop a pierced, ormolu base. Surmounted by a custom, pleated, silk shade. Height including shade: 27 inches Diameter including sh...

A striking table lamp in gilt gazed ceramic, likely by Bitossi (for Bergboms). Measures: Height of body 10", height with shade 22".

A most unusual table lamp, the body made up from a collage of broken porcelain fragments, mostly late eighteenth century Chinese Export. Dimensions...

Glazed Ceramic Table Lamp in the Shape of a Woman by Paul Pouchol Stunning, playful glazed ceramic table lamp with a satisfying amount of shine and texture. Created by celebrated Fr...

Striking basket weave pattern vase shape Mid-Century Modern ceramic table lamp.

When two iconic design brands combine the results can be truly spectacular and such is the case with this collaboration from Italian ceramicists Bitossi and Swedish lighting speciali...

A metallic glazed ceramic table lamp by Bitossi for Bergboms, Sweden. Please note that the shade pictured is not included.

Based on Rosen’s earlier ceramic forms, the hand thrown ‘4300 Series’ of 1967 expanded the types of hand applied glazes with an enlarged palette of colors and glaze techniques. This ...

Midcentury teak/brass and glass lamp, Sweden 1950 Simple typical 1950s lamp teak foot with brass details resting on a gray toned glass foot. Rewired for the US.

Blue and Green Glazed Ceramic Lamp, United States, c. 1950 Monumental glazed ceramic table lamp with scalloped edges and a beautifu...

A hand-thrown cylinder-form ceramic table lamp having a rich, glossy red-orange glaze and encircling deeply textured sgraffito decoration. At the time of production there was a 25% p...

Ceramic table lamp with an ovoid shaped body, hand decorated with white thistle leaves and vine with gold accents on a light, coral colored background.

A classic, bulbous vase form rendered as a large curvaceous high glaze ceramic table lamp. Sold with an installed solid brass custom light fitting consisting of a circular cover plate for the rod hole, vertical rod, double socket ball cluster each socket with a barrel chain...

Glazed ceramic. Signed

Large Space Age UFO shaped ceramic table lamp with a matte beige glaze, orbiting circle cut-outs, a string pull-switch and a light burlap-like fabric, homemade shade. Shade measures ...

“My art is made to enhance an experience, to draw you into slow moments of connection, whether these be in your own home or in a restaurant. Lighting has an enveloping quality that c...

“My art is made to enhance an experience, to draw you into slow moments of connection, whether these be in your own home or in a restaurant. Lighting has an enveloping quality that c...

Single lamp by Sophie Rogers Dimensions: D 20 x H 35 (base only) / 72 (with bulb) cm Materials: white stoneware, matte cream glaze, aged brass Bulb spec: 6W, E27, 340 Lumens, dimmable Black stoneware and black glaze also available. All our lamps can be wired according to each country. If sold to the USA it will be wired for the USA for instance. Nottingham - based ceramicist Sophie Roger designs and handcrafts sculptural lighting and homewares from her home studio. Her practice centres around the ancient Japanese carving...

Large double lamp by Sophie Rogers Dimensions: D 51 x H 50 (base only) / 74 (with bulb) cm Materials: white stoneware, matte black glaze, aged brass Bulb spec: 6W, E27, 340 Lumens, dimmable Black stoneware and white glaze also available. All our lamps can be wired according to each country. If sold to the USA it will be wired for the USA for instance. Nottingham - based ceramicist Sophie Roger designs and handcrafts sculptural lighting and homewares from her home studio. Her practice centres around the ancient Japanese carving...

Fabulous & chique ceramic table lamp designed by Bitossi. This elegant lamp has a metallic gold glaze with in the middle a silver stripe. Period- ca. 1960-1970 Place of origin- Italy...

The Drop Lamp is inspired by the gentle and elegant shape of the Snowdrop Flower, the Drop Lamp offers a striking addition to any interior decor. Whether placed on a table or shelf o...

Bespoke Rectangular Sculptural Ceramic White Glazed Table Lamp by Shizue Imai. The overall Height to tip of final is 33.6". Height of the ceramic itself is 20". Lampshade is not incl...

Bespoke Rectangular Sculptural Ceramic Dark Glazed Table Lamp by Shizue Imai. The overall Height to tip of final is 33.6". Height of the ceramic itself is 19.5". Lampshade is not inc...

Pair of Bespoke Ceramic Cuneiform Up-Light Lamps by Peter Lane. NOTE: We highly recommend the lamps be crated while in transport. Peter Lane is a New York based ceramic artist who s...

Pair of French Bespoke Glazed Porcelain Swirl (formerly Ruffle) Lamps by Dora Stanczel. Set of 2. Height 1 (from lamp base to finial): 24.5" Height 2 (from lamp base to top of ceram...

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...