Glazed Lighting

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 Regency style storm lantern, the glass shade supported by a porcelain plinth base with supporting dolphins in blue, white and gold glazes. With red gla...

suspension lamp LOVER 3.0 design RODRIGO VAIRINHOS The "LOVER 3.0" is part of the striking "LOVERS" lighting collection, a unique series of pendant lamps that playfully explore the ...

suspension lamp SMALL LIGHT 1.0 design RODRIGO VAIRINHOS  SMALL LIGHT is a collection of four different hanging lamps composed of four different models in four different sizes that ...

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.

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 ...

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...

suspension lamp LOVER 1.0 design RODRIGO VAIRINHOS The "LOVER 1.0" is part of the striking "LOVERS" lighting collection, a unique series of pendant lamps that playfully explore the ...

suspension lamp SMALL LIGHT 1.0 design RODRIGO VAIRINHOS  SMALL LIGHT is a collection of four different hanging lamps composed of four different models in four different sizes that ...

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.

Finely engraved bronze. Net grid with hand ground crystal stones.

Glazed ceramic. Signed

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...

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...

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...

Brass, patinated. Finely ground crystal. Five curved light arms. Measures: Width:38 cm, height:50 cm, depth:27 cm.

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...

Pair of Bespoke French Ceramic Froissé Sconces by Dora Stanczel. Set of 2. Please note these sconces are completely customizable size, design and ceramic color and finish can all be...

Pair of French Bespoke Hand-Crafted Ceramic Sconces by Barbara Billoud. Set of 2. Sconces can be made to order - and may be crafted in any finish and shape. We can provide you with ...

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

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...