Pair of lamps with rectangular bases in solid crystal, Lynx model, designed in 1973 by the sculptor Jean-Pierre Demarchi, then artistic director of the Daum crystal works.
The crystal, hollowed with a biomorphic form of symmetrical scrolls, is enhanced by a column in white opaline crystal on one base and in brown crystal on the other — a variation in tone that distinguishes each piece without breaking the unity of the pair.
The interplay between the transparency of the crystal and the matte finish of the central inset captures light with striking sculptural presence, faithful to Demarchi’s approach, which regarded crystal as a material in its own right, on a par with bronze or stone.
The strength of this pair lies in its bold chromatic and textural contrast.
Signed Daum France on each base.
Newly rewired to current standards by a professional.
Pair of lamps mounted on sake jars (tobin) in grey-white glazed stoneware, Japan, first half of the 20th century.
Each jar bears, on several sides, calligraphic inscriptions in black ink under the glaze, executed with the brush with remarkable gestural flair — names of trading houses and merchant districts (Yūkiya, Rokkōmachi) characteristic of the commercial production of the Meiji–Taishō era. Body in stoneware with a lightly grogged ivory glaze, ringed neck, squat ovoid form.
Traces of wear and natural patina consistent with age and original use.
Entirely new electrical wiring, carried out by a professional electrician in accordance with current French standards.
Gilt brass socket. Conical natural linen shade included.
Available individually: €500 each
Rare pair of monumental lamps in glazed stoneware, the work of Florentine ceramist Marcello Fantoni (1915–2011), one of the leading figures of twentieth-century Italian art ceramics, whose pieces are held in the permanent collections of the Metropolitan Museum of Art, the Victoria & Albert Museum and the Museo Internazionale delle Ceramiche in Faenza.
The hand-formed ovoid bodies display a poured glaze of remarkable chromatic subtlety: the creamy, frosted white of the summit fades gradually into a bluish grey and a deep midnight blue, punctuated by ashen streaks. Flecks of pyrite and textured crystalline effects (characteristic of Fantoni’s material experiments) enrich the surface, at once granular and luminous, revealing Fantoni’s mastery of firing.
Each piece is signed by hand on the reverse.
The electrification has been entirely renewed by a professional (new socket and wiring). The cylindrical shades in natural ecru fabric were made to measure by a shade-maker of the Decorative Arts trade, in perfect harmony with the tonality of the ceramics.
A remarkable Italian table lamp from the 1970s, a period of creative effervescence during which transalpine design established itself as a global benchmark. The monolithic stem in cast translucent acrylic, of intense amethyst hue, presents bubble inclusions trapped within the mass during casting — an artisanal process characteristic of the finest Italian workshops of the decade.
The rectangular section with bevelled edges lends the whole a distinctly sculptural character. The chromed metal sphere articulating the stem and the socket, together with the brushed silvered metal cylindrical shade, are wholly in keeping with the formal vocabulary of the Italian Space Age, in the spirit of the creations of Romeo Rega.
Unsigned piece, attributable to a Milanese or Venetian design workshop of the 1970s.
Lateral wiring.
Origin: Italy, circa 1970
Nine hand-blown glass discs, each featuring a satin white opaline heart encircled by a ring of transparent crystal — such is the visual grammar of these wall lights from the Vistosi glassworks, one of the founding houses of Murano lighting.
Mounted on their original white lacquered metal structure, the discs reveal, when lit, a diffuse, warm and luminous halo of great softness and elegance.
An iconic signature of twentieth-century Italian design.
A doubly rare piece: for its generous square format and for the fact that it is presented as a matching pair, intact.
Sold as a pair.
A veritable column of light, this exceptional piece embodies the quintessence of mid-twentieth-century Venetian lagoon craftsmanship. The dialogue between the solid crystal and the generous inclusions of gold leaf creates a chromatic vibration of rare intensity, characteristic of the Rugiadoso technique. The architectural silhouette, punctuated by a succession of eleven gadrooned and tapered sleeves, culminates in a majestic corolla that magnifies the diffusion of light. Its sculptural presence and gilded patina make it a historic milestone of prestigious Italian design. The gallerist’s advice: This monumental light fitting is the ideal piece for an architect’s office project seeking to punctuate a reception space with great ceiling height. For a striking contrast, it will integrate perfectly within a Minimalist Chic interior or alongside a Scandinavian rosewood sideboard, where its brilliance will warm the sober lines of Nordic furniture. Its imposing stature also allows it to be used as a focal point in a Hollywood Regency-inspired drawing room, bringing a touch of erudition and elegance. Materials: mouth-blown Murano crystal, internal inclusions of fine 24-carat gold, internal structure and connecting rings in gilded brass. Museum-quality state of preservation; the crystal shows no chips, no cracks and no restoration. Original electrical system serviced and functional. Period: Circa 1960 (Mid-Century Modern period). Italy, Murano, Barovier & Toso Manufactory
A unique collector’s piece for connoisseurs and enthusiasts of industrial and Space Age lighting. A genuine globe from the street furniture of the city of Paris, this characterful table lamp combines a chromed metal tulip-style base, emblematic of the 1970s, with a holophane glass globe. The globe is remarkable for its intricate moulded prismatic glass pattern, with grid and striated motifs typical of the historic urban luminaires of Paris.
This textured glass is not merely aesthetic; it is designed for optimal light diffraction, creating a soft yet shimmering ambience.
A true sculpture of light, at the crossroads of industrial design and modernism.
Some traces of age on the glass.
Rare set of three blown Murano glass wall lights attributed to Seguso, Murano.
Each wall light is composed of glass flowers with gold powder inclusions, assembled one by one onto a metal grid, creating a dense and luminous textured effect with golden reflections.
Venetian work, circa 1960–1970.
Condition: very good overall. One flower missing on one of the wall lights, barely perceptible. The other two in perfect condition.
Sold as a set of 3 pieces — not separable.
Remarkable pyramidal lamp base of square section, hewn from a block of unfilled Roman travertine displaying its characteristic horizontal veining, alternating warm ochre and beige.
The surface retains its natural cavities, a deliberate treatment that lends the piece its sculptural power and firmly situates it within the brutalist and mineral aesthetic of Italian design of the 1970s.
The shaft tapers progressively from base to crown in an obelisk-like movement of great geometric rigour.
Original label present: AREA Illuminazione, a transalpine manufacturer renowned for its luminaires in fine natural stone.
Later shade. Ivory white.
Very good overall condition.
Functional electrical fittings.
An elegant pair of postmodern/Hollywood Regency style table lamps, crafted in 1980s Murano glass and brass.
These light fittings are distinguished by a “totem” structure composed of a stack of various hand-blown glass elements, offering an interplay of textures and contrasts:
* White opaline glass: globes and a domed base in satin opaline glass
* Gold-leaf textured glass: intermediate discs in solid moulded blown glass, one translucent with radiating ribs, the other enriched with gold dust inclusions according to the traditional Murano technique.
* Geometric elements: Murano glass cubes that structure the architectural silhouette of the whole. The mount and separating rings are in gilt brass, accentuating the elegance of the materials.
The design is characteristic of the high-end Murano production of this period, in the spirit of houses such as Barovier & Toso or Mazzega.
Excellent state of preservation.
Electrics fully overhauled and refurbished.
Presented here with conical grey/green shades.
A remarkable lamp in hammered and patinated wrought iron, in the Neo-Baroque floral style, Dutch production of the first half of the 20th century (circa 1930-1940).
This piece of wrought-iron art testifies to a rare technical mastery, combining two distinct skills: a central shaft in hand-worked wrought iron, and decorative elements in cast iron of great executional finesse.
The richly developed decoration composes an ascending vegetal bouquet articulated around acanthus leaves and naturalistic flowers — daisies and anemones — whose ribbed centres reveal a care for detail characteristic of bespoke workshops.
The trapezoidal fabric lampshade rests on its original iron mount. The damaged period parchment has been replaced with a copper/amber fabric in keeping with Dutch interiors of this period. Electrical system overhauled and functional.
A three-light table lamp by Stilnovo. Structure in brass and red lacquer. Opaline glass lampshades.
Italy, mid-20th century.