Patinated Lighting

Stilnovo style UFO ceiling pendant. Italy, 1960s. Glass, patinated brass.

Stunning ceramic light No.12, designed and handcrafted by Los Angeles based ceramicist Heather Levine. High fired stoneware with matte white glaze on a cork colored clay body with de...

Dimensions: 26in H x 10in W x 10in D Lamp shade: 10in H x 15in W. _______________________________________________________________ Transforming a piece of Mid-Century Modern furnit...

Rare sculptural early 20th century chandelier in dark patinated copper. A large central copper globe (circa 30cm/12″) with five sculpted arms, each with an original brass and ceramic...

Mod. Sole Flush Mounts by Gio Ponti for Arredoluce. Designed and manufactured in Italy, in 1957. Minimal impressionistic sun flush mounts, composed of ...

These truly exceptional sconces by E. F. Caldwell are pictured the the Caldwell archives at the Smithsonian in binder 17. They are made of gilt and patinated bronze, and mounted with...

LS4 'Doppio Vetro' Ceiling Light by Ignazio Gardella for Azucena. Manufactured in Italy, in 1955. Iconic and eye-focused glass pendant comprising of a halophane double cupped diffuse...

Stunning Art Deco eight-light pendant / chandelier with marvelous bronze sphinx sculptures. If you are looking for a one of a kind and truly s...

Pair of Art Deco wall sconces signed by Hettier & Vincent Marked Made in France. Frosted glass panels with pattern of stylized flowers produced by Baccarat. Bronze frames, old silver patina. About Hettier & Vincent: The association between the draftsman Charles Louis Hettier, Born in Paris in 1868 and Calixte Vincent, born in Lachapelle-Graillouse, in 1876, died in Paris, in 1945, dates at least from the years before the First World War, around 1912. Installed since their beginning in 43 rue des Tournelles they gradually grew their business and in 1929 they bought the Millet house on the prestigious Place de...

Pendants by Lyfa. Manufactured in Denmark, circa 1960s. These conical shades are photographed as a trio. Each shade is slightly different, one being aged brass, and the other two age...

Elevate your interior ambiance with our dazzling pair of table lamps from the 1960s, impeccably reimagined in the Hollywood Regency Style. Hand-crafted from brass, these lamps stand ...

Model 5006 floor lamp by Ben Seibel for Raymor. Designed and manufactured in the US, in 1951. Classic mid-century floor lamp comprising of an enameled perforated shade, attached to a...

One of three very rare and exceptional pendants by Rupert Nikoll, Vienna, manufactured in midcentury, circa 1960 (late 1950s or early 1960s). The price is per hanging lamp. They are...

A stylish, unusual and bespoke pair of hanging lamps composed of frosted white glass and decorative tops made from brass rings. Unknown Italian maker/design, circa 1970-1980. Measure...

Striking and exclusive 1920s bronze and alabaster light fixture for the perfect atmosphere. If you are looking for a remarkable light fixture to grace your living space then this antique Art Deco...

This unique, antique floor lamp was crafted in Northern France, circa 1920. Standing on three bun feet over a circular base embellished with hand carved foliage decor, this lamp features a thick barley twist stem over acanthus leaves, a round ledge surface in the center decorated with carved leaf motifs. The sturdy light fixture is dressed with a real wax candle, and has new wiring with double lights; it is further embellished with a convenient on and off foot switch. The tall free standing Louis XIII style floor lamp is in excellent condition and adorns a rich walnut patina. Place this elegant and practical fixture next to your favorite armchair, and use the attached table...

Rare and important Poul Henningsen kuglekrone chandelier made by Louis Poulsen in Denmark in the 1930’s. The frame is made of darkend brass with original acid stained glass and black Bakelite. Poul Henningsen (September 9, 1894 in Ordrup – January 31, 1967 in Hillerød) was a Danish lamp designer, architect, revue writer, film director and social activist known by the initials PH. He was the son of the writer Agnes Henningsen and the stepson of MA, vice consul Mads Henningsen. His biological father was the writer Carl Ewald. PH had his own design studio from 1919, where i.a. the architects Hans Hansen and Mogens Voltelen worked on the clean drawing of the PH lamps. PH thought that electric bulbs cast an impossible light - either it was far too bright, or screens swallowed most of the light. He wanted a lampshade that sent the light out into the room at its full strength without dazzling. The PH lamp's three screens ensure that. He experimented in his terraced house until the lamp up in the ceiling, where the walls were painted black. A pram could be driven back and forth on rails. On the wagon, a candle stood on a cardboard plate and shone on a piece of paper with a grease stain through which the light shone. PH called it a photometer and used it for thousands of measurements of light strength and curves. The breakthrough came when a mutual friend, architect Thorkild Henningsen, introduced him to Sophus Kaastrup Olsen, director of Louis Poulsen & Co. This was the start of a lifelong collaboration. Kaastrup Olsen had some lighting fixtures manufactured and sent them to the international exhibition Arts décoratifs et industriels modernes in Paris in 1925. PH won top prizes in all six classes of lighting fixtures. Forum was inaugurated in 1926 with a car exhibition where the PH lamp with glass shades made its debut. About PH's lamps that illuminated the room, B.T. wrote: "- the white birds that flew through the giant hall". Success was assured and PH's dream fulfilled: he had created a product that could be mass produced and he became a wealthy man. His greatest success was the PH5 – the one we know as the PH lamp (with metal shades), but it was only launched in 1958. He also designed the Koglen, the Kuglen and the Charlottenborg Pendlen, which all hang in Designmuseum Denmark. He lived off the income from his famous PH lamps and used the freedom it gave him to write revues such as Ølhunden, which was sung by Osvald Helmuth, and Grabe imter blanke ting (Man bind us by mouth and hand...) , which was about the German censorship, and which was sung by Liva Weel. He began collaborations with Bernhard Christensen and Kai Normann Andersen. Poul Henningsen, in addition to seeing cubism as his style ideal ("the genuine classless art of democracy"), was a functionalist, an atheist, a hater of the church, an advocate of sexual freedom and an opponent of unnecessary ornaments on buildings. Everything had to reflect their function. This is reflected in a number of buildings in Denmark, for which Poul Henningsen was the architect; like his own villa by Gentofte Sø. From 1941 he was architect for the amusement park Tivoli in Copenhagen. At the same time, he took a unique moderate position, because already in his writings in Kritisk Revy he was critical of Bauhaus' "laboratory architecture" and Le Corbusier. He instead recommended a golden mean and thus paved the way for moderate Scandinavian functionalism. Louis Poulsen, eg. Louis Poulsen Lighting A/S, formerly Louis Poulsen & Co. A/S, is a Danish company that manufactures lamps and lighting designed by well-known designers. Previously, the company also had a wholesale company under the name Louis Poulsen El-teknik, which was acquired by Lemvigh-Müller in 2005. The company was founded in 1874 in Copenhagen by Ludvig R. Poulsen (1846-1906) as a wine import company under the name Copenhagen Direct Vin-Import-Kompagni. The company closed in 1878, but continued in the wholesale business. In 1892 - the same year that Copenhagen got its first and the country's second electricity plant - Ludvig R. Poulsen established a business selling tools and electrical articles in Istedgade 1 on Vesterbro in Copenhagen. In 1896, Ludvig R. Poulsen employed his nephew, Louis Poulsen (1871-1934), in the company. In 1906, Ludvig R. Poulsen died, who was succeeded by his nephew as director. In 1908 he moved the headquarters to Nyhavn 11, and in 1911 he admitted Sophus Kaastrup-Olsen (1884-1938) as a partner in the firm, which was then named Louis Poulsen & Co. In 1914 the company's first catalog was published, and in 1917 Sophus Kaastrup-Olsen Louis Poulsen bought out the company for DKK 10,000 and thus became sole owner of Louis Poulsen & Co. In 1918, the turnover reached 5 million. DKK In 1933, Louis Poulsen & Co. opened. a department in Aarhus. From 1938, the company, which was transformed into a limited company on 1 November 1939, was led by civil engineer Emun Rager (1884-1959) as managing director, as Kaastrup-Olsen died that year. When buying Laur. Henriksen's Metalware factory in 1941 went to Louis Poulsen & Co. A/S itself into the production of lighting fixtures. The magazine LP-NYT was launched the same year with Poul Henningsen as editor. A newly constructed building on Sluseholmen in Copenhagen was inaugurated in 1959 and was partly used for the assembly of fluorescent light fixtures and partly for electrical wholesale storage. In the same year, Jens Kaastrup-Olsen became managing director after Emun Rager. In 1964, the wholesale section was expanded by the acquisition of A/S Classen-Smidth, whereby the company gained branches in Odense and Vejle, and in 1965 Laur changed. Henriksens Metalvarefabrik name for Elpefa A/S, which moved to a newly built production hall on Sluseholmen, where all production and assembly of fittings were brought together. In 1967, I/S El-Salg was established. In 1976, Jens Kaastrup-Olsen died and was succeeded as managing director by Hans Cordes. The following year, the metalware production, which was previously an independent company called Elpefa A/S, was merged with Louis Poulsen & Co. A/S. Louis Poulsen's B shares were listed on the Copenhagen Stock Exchange, and a shareholder agreement was concluded between the heirs in 1977 to ensure that the company remained in Danish hands. 1981 Louis Poulsen & Co. bought A/S electrical wholesale section in S.C. Sørensen and thereby got eight electricity wholesale departments included in the purchase. In 1984, Elpefa Handels- og ingeniersfirma was established, in 1985 JO-EL A/S, and in 1987 the group's turnover reached DKK 1 billion. DKK In 1989, Louis Poulsen & Co. acquired A/S Skandia Havemann's El A/S, in 1990 the Danish subsidiary Lightmakers A/S was established, and in 1995 the electrical wholesale section established a special department for telecommunications and data under the name Louis Poulsen Kommunikation. At the same time, the e-commerce system eLPc was introduced. In 1997, Erik Holm became managing director, and in the same year the Lighting Section bought the English company Outdoor Lighting Ltd. The measuring instrument section of Elpefa A/S was separated in 1998 as an independent limited company under the name ELMA A/S. The electrical engineering section simultaneously bought Norsk Elektro Teknikk ASA and Nordisk Elektro Teknik AB. The shareholders' agreement of 1977 led in the 1990s to several family feuds and lawsuits, but in 1999 an agreement was reached. The family allowed themselves to be bought out, while the company remained in Danish ownership. The new owners were the investment consortium Polaris and HD Invest. After the change of ownership, the Louis Poulsen shares were delisted on the Copenhagen Stock Exchange. In the wake of the company's 125th anniversary in 1999, the former A-shareholders and the new owners of the Louis Poulsen Group established a new Danish lighting...

Ceiling light by Lumen. Designed and manufactured in Italy circa the 1950s. A beautifully refined featuring poked holes in the enameled dish. Ea...

(4) Classical American small globe sconces from the 1950s by Lightolier. These sconces are in an aged solid brass finish and construction. Partially...

Stuart Barnes for Robert long floor lamp. Designed and manufactured in the US circa the 1960s. Mid century classic design consisting of a...

A pair of lamps designed by Stuart Ross James (1912-1997) for Hansen. Very handsome and elegant pair of table lamps from the American midcentury period circa 1960. Those table side lamps has been designed by Stuart Ross James for the Hansen Lighting Co. They are carefully crafted in solid patinated bronze with gorgeous verdigris finish. Made with a squared base and fluted curved body and mounted in black wood platforms. The measurements of the main body (the fluted base) for each lamp are, 20 by 7.25 by 7.25 inches (50.8 x 18.4 x 18 .4 Cm). Stewart Ross James was born in 1912 in Toronto and moved to the US in his early teens; he attended high-school in Birmingham, Alabama. He wrote in his yearbook that his life's ambition was "to be a success in the field of Interior Decoration." By 1940, he was living in New York City and working as an interior designer on Park Avenue. He later moved to Winchester, New Hampshire, where he continued design work, collaborating with the New York architectural firm of O'Connor & Killham on projects for Kenyon College in Ohio, the Phoenix Insurance Company in Hartford, Connecticut, and for Princeton University's Firestone Library. He designed interiors for the Cunard Line's Boston offices in 1952 and lamps for Hansen LIGHTING of New York in 1957. Hansen LIGHTING was set up at 1st Ave and 53rd St. in New York City, following WWII by George Hansen in order to introduce his Classic, wall-mounted swing arm lamp. He had conceived of the IDEA while stationed as an Army staff sergeant in a lonely weather station in Goose Bay, Labrador, in Newfoundland. While spending a dark winter there, Hansen built a simple lamp that would allow him to read in bed. It consisted of a bent length of copper tubing, wired and bolted to the wall, with a bulb at one end and a tin can for a shield. The first Hansen lamps were built by a Queens metalworker. Early on, Hansen entered into association with METALARTE of Barcelona, a premier lighting manufacturer. The lamps attracted the attention of architects (Edward Durell Stone; Phillip Johnson; Skidmore, Owings & Merrill) and interior designers (Billy Baldwin, Edward Wormly, Eleanor Brown, Sister Parrish, Albert Hadley) as well as his future collaborator, world-renowned designer, T.H. Robsjohn-Gibbings. Hansen retired from designing in 1988, and Hansen LAMPS was acquired in 1991 by Hinson LIGHTING...

Rare Pendant by Giovanni Corradini and Giancarlo Simonetti. Designed and manufactured in Italy circa 1950s. Timeless and minimal ceiling light wi...

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...

Eye-catching hand-hammered iron and opaline glass flower flush mount / wall light. France, 1940s-1950s. This light fixture features a round iron backplate adorned by twisted iron rop...

Very rare tall table lamp by Sabino, Paris, circa 1930. Slender, dark patinated, hardware with a heavily textured glass shade. Very thick glass with geometric pattern and a satin fin...

A pair of French two-light iron sconces from the mid-20th century. These vintage French hand-forged sconces each feature a curled and scrolled iron motif, with the cupped iron bobèch...

Agrafee desk lamps by Serge Mouille. Manufactured in France, circa the 1970s. Brass adjustable desk lamps with adjustable shades and black enamel finish. Each lamp holds one bayonet ...

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

Niamh Barry often says that her sculptures are drawings in bronze and light. Inspired by natural beauty, the work transcends utility. She strives, above all else, to achieve striking...

As with the rest of Naimh Barry's work, On it Goes IV is inspired by forms and movements in the natural world that evoke emotion. With every element of this...

Classical single Italian Adjustable shade sconce from the 1950s. This sconce is in natural aged brass and painted aluminum. Partially restored with 1 E26 medium based socket per shad...

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

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

Rare Art Deco ceiling light from the 1920s. Very unique geometric hardware made of dark patinated brass and a blown glass diffuser with white inner casing. Lovely original condition ...

Bent Karlby 'China' wall lamp with arms in patinated brass and shade in opal glass, 1960s. Maker Lyfa.

Original finish, partly restored of the period mid century Italian 1950s brass, aluminum and glass chandelier with 10 hand blown glass s...

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...

Large and rare sculptural Mid-Century table lamp executed by Venini and designed by Gio Ponti, Italy around 1960-1970. The fabulous of vintage table lamp has a patinated bronze brass...

These medium-sized STACKED Ostrich egg-shaped pendants shown here are made of salvaged Walnut. All pendants are hand-built custom per your specifications. Larger or smaller, used ind...

A most elegant pair of French 19th century Louis XVI st. ormolu and patinated bronze electrified candlestick lamps. Each lamp is raised by a square base in a unique and most decorati...

Michael Anastassiades [Cypriot, b. 1967] Mobile chandelier 9, 2021 Patinated brass, glass and LED Measures: 43.75 x 57.25 x 6 inches 111 x 145.5 x 15 cm Edition of 5 Michael Anastassiades founded his studio in London in 1994. He trained as a civil engineer at London’s Imperial College of Science Technology and Medicine before taking a masters degree in industrial design at the Royal College of Art. His work is featured in permanent collections at the Museum of Modern Art in New York, the Art Institute of Chicago, the Victoria & Albert Museum, London, the MAK in Vienna, the Crafts Council in London and the FRAC Centre in Orleans France. Recent solo exhibitions include Norfolk House music...

A pair of French candelabra made circa year 1800. Dark patinated and gilt bronze. On columns are two mermaids sitting. The columns have ornaments of roosters facing each other. At...

Rewire Custom Wall Light in the style of Interlampadario. Brass, metal. Manufactured in Los Angeles. We recommend. Lamping: 120v 3Qty E12 Candelabra ...

Italian mid-century Murano glass and kinetic bronze floor lamp, fitted with an opaque Murano glass shade, on a cast verdigris bronze circular moveable spiral column. The base has a 1...

A pair of triple glass shade and brass sconces from 1940s Italy. Fully restored finish. Wired with (3) E12 candelabra based sockets per sconce. Wired for use in the USA. They can als...

Part of Lumfardo Luminaires' contemporary collection, this Hexagonal Sconce in the manner of Italian mid-century design is fabricated in a patinated b...

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

Solid brass blade, hand milled for LEDs on top and bottom. 3800+ lumen. Subsequent photos of alternate finishes. Drawing from his knowledge of art and design (in addition to his arc...

Solid brass blade, hand milled for LEDs on top and bottom. 3800+ lumen. Subsequent photos of alternate finishes. Drawing from his knowledge of art and design (in addition to his arc...

Solid brass blade, hand milled for LEDs on top and bottom. 3800+ lumen. Subsequent photos of alternate finishes. Drawing from his knowledge of art and design (in addition to his arc...

Stunning Bronze Figurine: Arab Man Standing in front of Carpet ( = Table Lamp) This finest Vienna Bronze shows a sculptured Arab Man's Figurine as well as it is a Table Lamp: The Arab Warrior is clad in typical garments (= long mantle...

These elegant antique bronze wall fixtures were crafted in France, circa 1950. Each tall sconce features the traditional Louis XVI ribbon bow at the pedim...

Very elegant pair of André Arbus French bronze neoclassical black hand sconce with two arms, wall light with black & gold paper shades. Priced by pair. US rewiring and each takes 2...

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...

Pair of French modern bronze 'X' base floor lamps, C. 1960 Each one of typical form with square column and 12.5 diameter 'X" base. 51" high to the top of the column, 54" high to th...

Marine Lamp Lantern Nautical Neptune N R Brass Ship Lantern. Oil lantern constructed with solid brass and glass. Original vintage unrestored condition, beautiful original patina. Fi...

One large sconce, in polished brass, artist creation, France, Weigh: 8kg About the artist: Graduate in ceramic design and metal sculpture (2001,2003), he worked during two years wi...