French Art DECO
Muller Freres & Edgar Brandt
Frosted White Glass & Beaten Bronze
Height (total): 11-3/4 inches
Height (glass lampshade only): 5-3/4 inches
Diameter (glass lampshade): 7 inches
Width (bronze base): 7-1/4 inches
Bronze stand, possibly, by Edgar William Brandt (1880–1960), who was a French iron worker, prolific weapons designer and head of a company that designed 60mm, 81mm and 120mm mortars that were very widely copied throughout and subsequent to World War II.
The frosted glass lampshade is by Muller Frères Luneville. Muller Frères were French glassmakers, located in Lunéville, France. They were renowned for producing Art Nouveau glass works, such as vases and lampshades. The Muller family originally came from Alsace. Some members of the family worked together with Émile Gallé before starting their own business.
A Pair of Bohemian
Bronze and Beaded Glass
Peacock Nightstand Lamps
Bohemian bronze and glass jeweled pair of nightstand Peacock Lamps with three lights behind the tails, rewired.
Dimensions: 16" W x 7" D x 16" H.
A Pair of Giacometti Caryatid Bronze Table Lamps
Dutch guilt (gold leaf) bronze, foundry stamp “EXNY” on the bases.
Height: 39 inches (99 cm) Width: 5 inches (13 cm) Depth: 5 inches (13 cm)
This pair of Male & Female Caryatid Table Lamps, sculpted in the manner of Ignazio Giacometti and rendered in Dutch gilt bronze are hand-made by the famous New York-based fine art bronze foundry, Excalibur.
Over 50 years of its existence, Excalibur Bronze Fine Art Foundry has created excellent art, monuments and ornamentation for institutions and private clients alike - from public statues and monuments to fine art and custom residential installations and fixtures, they have covered all the ground.
A Pair of Modernistic Lamps
Smoked Lucite and Chrome with Decorative Threading
Height: 29 in (74 cm)
A pair of vintage American table lamps, likely intended for a club or lounge, produced circa 1980s, with central chrome stems, surrounded by five smoked Lucite panels, joined by two circular supports to the top and bottom, surrounded by a layer of threading, forming abstract patterns when interwoven. Wiring and sockets to US standard, each requires a single mirror bulb. Good vintage condition, with some light corrosion and patina to the chrome stem.
French Art Deco
Champlevé Table Lamp
Enamel on Copper & Green Onyx on Marble Base
This elegant French Art Deco (circa 1930) table lamp combines the simplicity and brevity of lines of the rectangular onyx & marble base with the complexity and sophistication of the pattern done in the famous French technique, Champlevé covering with the multi-color enamel pattern the four copper plates mounted in onyx around the perimeter of the base.
Height: 24 inches Base Height: 9 3/8inches Base width: 5 1/8 inches Base depth: 5inches
Champlevé is an enameling technique in the decorative arts, or an object made by that process, in which troughs or cells are carved, etched, die struck, or cast into the surface of a metal object, and filled with vitreous enamel. The piece is then fired until the enamel fuses, and when cooled the surface of the object is polished. The uncared portions of the original surface remain visible as a frame for the enamel designs; typically they are gilded in medieval work. The name comes from the French for "raised field", "field" meaning background, though the technique in practice lowers the area to be enameled rather than raising the rest of the surface. The technique has been used since ancient times, though it is no longer among the most commonly used enameling techniques. Champlevé is suited to the covering of relatively large areas, and to figurative images, although it was first prominently used in Celtic art for geometric designs. In Romanesque art its potential was fully used, decorating caskets, plaques and vessels. Champlevé is distinguished from the technique of cloisonné enamel in which the troughs are created by soldering flat metal strips to the surface of the object. The difference between the techniques is analogous to the woodworking techniques of intarsia and marquetry. It differs from the basse-taille technique, which succeeded it in the highest quality Gothic work, in that the bottoms of the recesses for the enamel are rough, and so only opaque enamel colors are used. In basse-taille the recesses are modeled, and translucent enamels are used, for more subtle effects, as in the 14th century Parisian Royal Gold Cup.