Patinated Table Lamps

Tiffany’s “Peony” table lamp was a work grounded in naturalism but reaching for the divine. With a shade of resplendent blooms and a mosaic base evoking the hallowed ground of church floors, Tiffany’s peony lamp demonstrates his foundation in both Art nouveau and ecclesiastical art. To depict his multi-hued bouquet, Tiffany depicted two different cultivars, a Greek peony, and a Japanese peony. Tiffany used burgundy glass streaked with lapis to express the richness of the Greek Peony. Favored by neoclassical artists for their symmetry and simplicity, Tiffany featured the bloom in the architecture of his country estate. To represent the candy-striped Japanese peony Shima Nishiki, Tiffany used cream glass streaked with fuschia. The shade elegantly depicts different stages of growth from the bud, first bloom, peak bloom, to wilting. When peony petals wilt, their veins darken, and their form puckers. Tiffany’s glass selectors chose a stone textured glass called granite glass to express the wilting of the petals and their pronounced venation. The background and border of the shade is a golden amber, streaked with magenta and blue. The top-down perspective of the peony with a dirt background was a type of painting called “Rasenstück”, a detailed study of a piece of turf. The crux of the Rasenstück was the elevation of the humble. Popularized in the nineteenth century by the American Pre-Raphaelites, the movement believed in the idea of "truth to nature". The principle encouraged painters to capture the natural world as truthfully as possible, not romanticizing what they saw. In these nature studies, painters depicted flowers and trees in the soil from which they grew. While sublime on its own, the shade and base taken together paint a picture of Tiffany’s Japanese garden. Peonies imported from the far east bordered serene ponds. A frieze of turtleback tiles hypnotizes the viewers with its scarlet glow, evoking the red flash of a sunset, as seen through a field of cattails, rendered in bronze. Below it, the row of cat tails blends into a mosaic of red, yellow, and green glass. While Tiffany’s chief designer Clara Driscoll is most famous for her naturalistic lamp designs, the bread and butter of Tiffany Studios was its ecclesiastical department. Red, yellow, and green colorways were widely used in the depiction of Baroque angels, whose wings were modeled after birds of paradise. As hunters removed their legs upon sale, many believed they neither ate nor drank, and instead floated ethereally like angels. A lamp such as this epitomizes Tiffany’s understanding of his artistic vision in the context of the entire history of artistic expression. Since falling in love with glass at age twelve in the cathedrals of Chartres, light itself became a representation of divinity. A contemporary critic described Tiffany’s mosaics...

Brown wrapped leather table lamps by Valenti. Designed and manufactured in Spain, circa the 1970s. Purchased as dead stock. Fully wrapped leather...

Art Deco lamp kneeling nude holding a vase by Fayral, Vers L'oasis, with Daum glass shade. Patinated Art Metal on Portor marble base. France 1930. ...

Maroon wrapped leather table lamps by Valenti. Designed and manufactured in Spain, circa the 1970s. Purchased as dead stock. Fully wrapped leathe...

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...

Pair of mid-century Italian bronze mushroom lamps. Italy, 1970s. Each one with two naturalistic pierced mushrooms fitted with one 40w chandelier bulb i...

This Tiffany Studios New York "Jeweled Geometric" leaded glass and bronze table lamp features an enticing shade, comprised primarily of gradient-hued green glass in a geometric arrangement. This lovely pattern is interrupted by thick band of bronze openwork in a vegetal pattern, beautifully adorned with iridescent glass beads of various colors, imitating the appearance of beautiful cabochon jewels. The shade sits atop a patinated bronze telescoping "Ball" base. The finial cap is adorned by a glass bead. Artist: Tiffany Studios New York Circa: 1910 Dimensions: 22.5" diameter, 30.25" height Materials: Leaded glass, bronze Shade Signed: ''Tiffany Studios New York'' Base Signed: ''Tiffany Studios New York 10922'' Literature: Table lamp pictured in The Lamps of Tiffany...

Engraved brass spherical lamp with thick walls, France, 1970s. Rewired. Shade not included.

1950s Italian Mid-Century Modern adjustable desk lamp or table lamp by Stilux Milano. Executed in perforated painted metal, white acrylic diffu...

Great table brass lamp, in ellipses forms. The table lamp is in fully patinated brass, included a nice light grey shade. This lamp has been made in France, by D.M.L., a talented yo...

Pair of midcentury spun gun metal sphere lamps, each one of Kinetic form, raised on a 6" diameter base, each sphere has a diameter of 11", they stand 12" ...

Monumental Single Louis XVI Style Ormolu and Patinated Seven-Light Candelabra Illuminate your space with the traditional allure of this monumental single Louis XVI style ormolu and ...

A beautiful and fine pair of French Empire style Art Deco period black porcelain and bronze mounted table lamps. This beautiful pair of bl...

Niamh Barry’s work starts as line drawings. She is inspired by forms and movements in the natural word that evoke emotion and her finished pieces are compositions that translate thes...

Enlightening plant in skated brass, Maison Jansen, brass base, circa on 1970, Good condition.

For your consideration a table lamp in the shape of an urn. Brass body with original glass shade in frost finish and carved details. It requires an E-14 bulb. Original vi...

"MGM Lamp" in white painted metal. Produced by Gruppo UFO, Italy, 1973.

Single faux bamboo lamp with square base, circular brass feet and patinated finish. Labelled Stiffel. The shade is not included in packing/ shipping quote.

A spectacular Sculpture lamp by Jacques Jarrige. Can be used on the floor or on a table/stand. The piece is full of surprises and captivating from all angles. Jarrige's work has been recently featured in AD 2022, Curbed, 2022 , Galerie Magazine, 2021 and earlier in IDEAT, November 2011, AD Collector, October 2011, World of Interiors September 2011 and May 2011, Maison Francaise September 2011 and Architectural Digest France July-August 2011 edition p 128-130 with a special focus on the artist Jacques Jarrige is exclusively represented in the U.S. by Valerie Goodman Gallery A list of notable solo exhibitions follows: 1989 Entrepôts de Bercy, Paris 1991 Galerie En attendant les Barbares, Paris 1993 Galerie En attendant les Barbares, Paris 1998 Hôtel de ville de Paris Salle Saint Jean 2002 Galerie Frédéric de Luca 2006 Galerie Cat Berro 2009 Galerie Thierry Marchand 2010 Valerie Goodman Gallery, NY 2015 and 2017 Queens Museum curated by Vida Sabbaghi 2015 RoCA Sculpture garden, NY permanent exhibition 2022 Cathedral Church of Saint John the Divine, NY 2022 ECC Biennale Venice Palazzo...