In 1964, Italian designer Giancarlo Mattioli, guided by the era’s enthusiasm for space-age forms and materials, experimented with then-newly-available thermoplastic resins. The result was this Nesso Table Lamp, an object represented in the collection of the Museum of Modern Art. Invoking an otherworldly mushroom, the Nesso Lamp’s eye-catching shape provides diffused incandescent light. Produced by Artemide, the lamp is available for purchased from the MoMA Design Store (online only) at This Link.
Best known as an Art Deco metalsmith, Edgar Brandt (1880 – 1960) studied metal working at the Ecole nationale professionnelle of Vierzon and established himself in Paris in 1902. There, he began his blacksmith career; his creations first being marked by the Art nouveau aesthetic. Thanks to his extraordinary technical mastery and ingenuity, he received overwhelming numbers of commissions.
In 1925, Brandt opened an art gallery, where he exhibited pieces created by his contemporaries, as well as some of his works and collaborations, such as the ones with Daum or Lalique. This Modernist Table Lamp (1931) features an S-shaped body on a circular base, in nickel-plated metal, with 2 deep-etched glass cylinders. At 8.5-inches wide at the base, and 12.5-inches high, each lamp is stamped (at the base) with the artist’s Signature: E. Brandt, and Daum Nancy France, for the crystal studio and its location, is etched on the glass. Price point is unknown.
Photographed in the Booth for Bernard Goldberg Fine Arts at the Fall 2019 Salon Art + Design in NYC
The MGM Table Lamp was designed by ‘radical’ Italian designer Lapo Binazzi and manufactured from 1960 to 1969. The MGM name comes from the lamp’s resemblance to the iconic Movie Studio Logo.
I spotted this piece way back in May of this year during NYCxDesign at R & Company, a gallery at 64 White Street. The extremely beautiful Pink Enamel-finish lamp is now quite a collector’s item that can sell for as much as $14,000!
Tiffany artisans made the irregularly surfaced Turtlebacks, a Tiffany Studio invention, by pressing glass into molds.
The thick, irresecendent tiles were then incorporated into shades, bases and mosaics, to dramatic effect. This Turtleback Lantern was designed between 1900 – 1906.
One of Tiffany Studios‘ most popular models, the Wisteria, was priced as $400 in 1906, placing it among the firm’s most costly lamps. The glass selection for the two lamps (both circa 1901) seen in the above photo created two dramatically different interpretations of the same design. One has a refined color palette ranging from pale blue to azure and cobalt, while the other displays bold contrasts of blue and white clusters.
Wisteria abounded in LC Tiffany’s leaded glass windows and on the grounds of his country estate, Laurelton Hall, and although the vine was a Tiffany favorite, Clara Driscoll’s correspondence identifies her as the designer of the iconic Wisteria lamp, which is composed of nearly 2,000 tiny pieces of glass. Designs for the Trumpet Creeper, Grape, and Apple Blossom, each sold with the same treelike base, followed shortly after the Wisteria.
Photographed in the New York Historical Society on Manhattan’s Upper West Side.
Donald Deskey (1894 – 1989) creator of the interiors at Radio City Music Hall, is a towering figure of modern design. This Art Deco Lamp (circa 1927) is a response to the upward thrust of the New York City skyline. Its boxy proportion echo a tall, narrow building, while on the two side panels, rectilinear puzzle-like patterns similarly evoke compressed architectural forms.
The use of frosted glass in different textures activates the lamp’s surface, even as it diffuses the emitted light, and its compactness attests to Deskey’s awareness that he was typically designing for small domestic interiors.
Photographed in the Metropolitan Museum of Art in NYC.
On the lookout for cool Pink Things at the ICFF, we spotted this ‘illuminating’ design by UIC student Maria Diamond. Emby, a bud-shaped sculptural lamp, is made from fluorescent pink sheets of acrylic. This type of acrylic is unique in that it has colored edges that have a natural glow to them. Its light source — an LED puck light that is also covered by acrylic — was placed to shine downwards into the acrylic, forcing it to refract through the curves and the etched contours of this organic form. Inspired by the form of a flower, the acrylic was heated and shaped in a way that best-defined the edges, to create a rosy glowing lamp. Stunning!
I contacted Maria via email, and she provided additional background on the piece:
“The project brief was to select a material from a list given to us as students, and then come up with a house good that best exemplifies the properties of that material. In my case, what is unique about acrylic is that some [types] have colored edges that have an inherent glow. Acrylic is also a thermoplastic, so I laser cut a flower-inspired shape from the sheet of acrylic and cooked it in my oven, which allowed me to bend the petals upward, as I wanted to highlight the petals’ edges.”
The designer continues, “I thought it was interesting to have the puck light be its own piece, because most people would assume the central placement of a light would shine up and out of a form. Instead, I did the opposite; that, when turned on, the source of light providing the natural glow from the edges is questioned. Maria is selling this design for $180 and is open to making additional lamps in different colors. You can contact her by leaving a message in comment section!
In the exhibit The Arcades Project, Walter Benjamin challenges the notion that the past is a fixed object, waiting to be elucidated. He calls the present “a waking world, a world to which that dream we name the past refers.” The dream quality of the past suggests that is is mutable, a patchwork of images and symbols that can be understood in myriad ways.”
The late artist Mike Kelley’s work has also focused on the unreliability of memory. His project, Mobile Homestead, a full-scale reproduction of his suburban, childhood home, resides on the grounds of the Museum of Contemporary Art in Detroit. The building’s first floor maintains the floor plan of the original, but its multilevel basement, closed to the public, includes crawl spaces and rooms that can only be accessed through ceiling hatches.
The dreamlike, labyrinthine architecture suggests the slipperiness of the past. Kelley explores the denial of uncomfortable realities of abuse and oppression in domestic life, not in tune with the American Dream as represented by the suburban home, with its white picket fence. This lamp, a miniaturized version of the building, adds another layer of surrealness to the house. Speaking of home, if you have electrical problems in your home or office contact electrical repair cincinnati oh.
Photographed as part of the exhibit, The Arcades Project: Contemporary Art and Walter Benjamin, on Exhibit at the Jewish Museum in Manhattan Through August 6th, 2017.
A couple of weeks ago, we made a run by Chamber on West 23rd Street to check out their newest collection of functional, limited edition artworks and home goods. As usual, more than a few items piqued our interest. We especially like this lamp by London-based blown glass artist and designer, Jochen Holz.
The Neon Desk Light is a unique, freestanding light sculpture made of free formed borosilicate glass tubing. Each is one of its kind and part of a small edition. Says Holz about this creation, “I am using much bigger tubing diameters and wall thicknesses to create shapes which couldn’t be achieved with conventional neon making. The forms play with the light emitted by the different rare gases, the undulating tube subtly manipulates the light, softening and intensifying it in turns. There are no coatings or filaments, just the pure light radiating from within the tube. The lights have an estimated lifetime of about 30 to 40 thousand hours.”
This fun modern lamp also comes in Red. Contact the store at firstname.lastname@example.org for pricing.
Dubbed the Prince of Plastic by the New York Times, Neal Small (b. 1937) lead a craze in the late 1960s for sculptural lighting and furniture made from plastic and acrylic. “I like to think of it as all part of the new permissiveness,” he commented. ‘I Know that I am being more permissive with myself and the designs I allow myself to make — making fuller, more sensuous things. People are permitting themselves in every area, whether it’s music, with The Beatles and The Stones, architecture or clothes. They are allowing themselves things that please them personally. You don’t have to invest in things forever anymore. Lighting is getting to be an art form.”
Area Lamp (model 1112), 1966 -67 was Photographed in the Museum of Modern Art in NYC.