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Lot 55
A Victorian oil lamp, solid brass with glass chimney, shade and reservoir, supported by brass fittings having a duplex twin wick burner inscribed 'Youngs Patent' on the ceramic wick winder knobs. 60cm tall, together with a Victorian finger oil lamp and a T.R.S central draft brass oil lamp. (3)
Lot 89
A collection of ceramic vases and other wares, to include a Japanese jade bamboo porcelain lidded ginger jar, makers mark to base, together with a large Italian flower vase, a pair of blue & white floral Chinese vases, a Chinese ceramic table lamp & shade, a Wedgewood 'Wild Strawberry' ginger jar and other wares.
Lot 102
Designer floor lamp. 1980s.Chromed metal structure. Fabric lampshade.Four points of light.Measurements: 152 cm (total height); 58 cm (lampshade diameter).Lamp of sober and elegant design, adjustable in height. The foot is formed by a structure of metal filaments joined at the top of the ribbed stem and opening at the base, giving dynamism to the design. Cylindrical shade in fabric.
Lot 132
WILLY RIZZO (Naples, 1928-Paris ,2013).Table lamp; Italy, c.1970. Designed for Luminica.Base in chromed steel and brass, and shade in nude fabric. Holds three bulbs.Dimensions: 53 x 14 x 21 cm. (base), 76,5 x 39 x 33 cm. (complete lamp)Designer and photographer, Willy Rizzo began his career in Paris, and since then has built up a solid career in the world of photography. His activity as a designer began in 1966, when he moved with his wife to a small flat in the centre of Rome, which he renovated himself, also designing the furniture. Although he never intended to become a designer, his friends soon began to commission him after seeing his house. In fact, he has counted among his clients such prominent figures as Salvador Dalí and Brigitte Bardot. Rizzo always admired beautiful things, both modern and antique, so he focused his aesthetic experimentation on creating modern furniture that perfectly matched the antique. His style marked an era in Italian design, being recognised as the designer of the Dolce Vita. The demand for his pieces was so great that in 1968 he decided to set up his own company, with which he has since created numerous pieces, always handmade, combining noble materials such as travertine or bronze with other distinctly modern ones such as steel. He eventually opened shops in Paris and other European cities, as well as in New York, Miami and Los Angeles. In 1978 Rizzo sold his company and refocused his career on photography, tired of the business life. During the ten years he spent designing furniture, Rizzo, a great admirer of Mies van der Rohe, Le Corbusier and Ruhlmann, developed a style that is easily recognisable even today. His are pieces of clean lines and geometric shapes, made of carefully selected materials. He always remained faithful to the traditional, handcrafted use of materials, rejecting the mass production system and the use of plastic. Some of his designs have been exhibited at the Metropolitan Museum in New York, and more recently at the Madison Mallet Gallery in London.
Lot 133
WILLY RIZZO (Naples, 1928-Paris ,2013).Table lamp; Italy, c.1970. Designed for Luminica.Base in chromed steel and brass, and shade in orange fabric. With capacity for three bulbs.Dimensions: 53 x 14 x 21 cm. (base), 76,5 x 39 x 33 cm. (complete lamp)Designer and photographer, Willy Rizzo began his career in Paris, and since then has built up a solid career in the world of photography. His activity as a designer began in 1966, when he moved with his wife to a small flat in the centre of Rome, which he renovated himself, also designing the furniture. Although he never intended to become a designer, his friends soon began to commission him after seeing his house. In fact, he has counted among his clients such prominent figures as Salvador Dalí and Brigitte Bardot. Rizzo always admired beautiful things, both modern and antique, so he focused his aesthetic experimentation on creating modern furniture that perfectly matched the antique. His style marked an era in Italian design, being recognised as the designer of the Dolce Vita. The demand for his pieces was so great that in 1968 he decided to set up his own company, with which he has since created numerous pieces, always handmade, combining noble materials such as travertine or bronze with other distinctly modern ones such as steel. He eventually opened shops in Paris and other European cities, as well as in New York, Miami and Los Angeles. In 1978 Rizzo sold his company and refocused his career on photography, tired of the business life. During the ten years he spent designing furniture, Rizzo, a great admirer of Mies van der Rohe, Le Corbusier and Ruhlmann, developed a style that is easily recognisable even today. His are pieces of clean lines and geometric shapes, made of carefully selected materials. He always remained faithful to the traditional, handcrafted use of materials, rejecting the mass production system and the use of plastic. Some of his designs have been exhibited at the Metropolitan Museum in New York, and more recently at the Madison Mallet Gallery in London.
Lot 134
WILLY RIZZO (Naples, 1928-Paris ,2013).Table lamp; Italy, c.1970. Designed for Luminica.Base in chromed steel and brass, and shade in nude fabric. Holds three bulbs.Dimensions: 53 x 14 x 21 cm. (base), 76,5 x 39 x 33 cm. (complete lamp)Designer and photographer, Willy Rizzo began his career in Paris, and since then has built up a solid career in the world of photography. His activity as a designer began in 1966, when he moved with his wife to a small flat in the centre of Rome, which he renovated himself, also designing the furniture. Although he never intended to become a designer, his friends soon began to commission him after seeing his house. In fact, he has counted among his clients such prominent figures as Salvador Dalí and Brigitte Bardot. Rizzo always admired beautiful things, both modern and antique, so he focused his aesthetic experimentation on creating modern furniture that perfectly matched the antique. His style marked an era in Italian design, being recognised as the designer of the Dolce Vita. The demand for his pieces was so great that in 1968 he decided to set up his own company, with which he has since created numerous pieces, always handmade, combining noble materials such as travertine or bronze with other distinctly modern ones such as steel. He eventually opened shops in Paris and other European cities, as well as in New York, Miami and Los Angeles. In 1978 Rizzo sold his company and refocused his career on photography, tired of the business life. During the ten years he spent designing furniture, Rizzo, a great admirer of Mies van der Rohe, Le Corbusier and Ruhlmann, developed a style that is easily recognisable even today. His are pieces of clean lines and geometric shapes, made of carefully selected materials. He always remained faithful to the traditional, handcrafted use of materials, rejecting the mass production system and the use of plastic. Some of his designs have been exhibited at the Metropolitan Museum in New York, and more recently at the Madison Mallet Gallery in London.
Lot 138
MAX INGRAND (Bressuire, France, 1908-Paris, 1969) for FONTANA ARTE.Pair of wall lamps model 1552, 1950s.Cut glass body with satin-finished glass shades and nickel-plated brass frame.Measurements: 40 x 20 x 8 cm.Pair of sconces designed by Max Ingrand for Fontana Arte. They have a cut glass body with satin glass shades and a nickel-plated brass frame. Famous French master glassmaker and decorator, Max Ingrand was artistic director of FontanaArte from 1954 to 1964. During that time he devised true design classics, such as the Fontana table lamp. He was educated at the École nationale supérieure des beaux-arts and the École nationale supérieure des arts décoratifs, studying with Jacques Grüber and Charles Lemaresquier. He was elected president of the Association Française de l'Illumination in 1968. That same year he founded the company Verre Lumière, one of the first producers of halogen lamps. Between the 1940s and 1960s, he created numerous stained glass windows for churches (in some cases replacing those destroyed in the Second World War), including those for Pontoise Cathedral (1955), Strasbourg Cathedral (1956), and the chapels of Blois Castle (1957). He has also worked on important civil buildings.
Lot 145
STILNOVO ceiling lamp. Italy, ca. 1960.Murano glass, brass and metal.With Stilnovo label.Measurements: 128 x 37 cm.Ceiling lamp by the Italian manufacturer Stilnovo consisting of two diffusers of industrial appearance, lacquered in olive green and red, hanging from two long golden cables. The entire structure is supported by a metal cylinder whose simplicity reinforces the formal purity of the rest of the piece.Founded in Milan in 1946 by the designer Bruno Gatta, Stilnovo immediately attracted the attention of the Milanese art scene, as evidenced by a review in Gio Ponti's Domus magazine, the silver medal at the 10th Triennale in 1954 and the Compasso d'Oro award for the Braccio lamp in 1955. Thanks to the collaboration with designers of the stature of Achille and Pier Giacomo Castiglioni, Joe Colombo and Gae Aulenti, to name but a few, the company produces lamps that have entered the Olympus of design icons. New solutions, innovative materials and cutting-edge technology make Stilnovo a point of reference for designers and lovers of timeless design.
Lot 147
GIUSEPPE OSTUNI (Italy, 20th century) for OLUCE.Table lamp, 1970s.Chrome, glass and metal.With label.Measurements: 47 x 24 x 60 cm.Table lamp designed by Giuseppe Ostuni for Oluce. It has a flat circular base from which the curved shaft emerges and finally a diffuser in the shape of an open dome, lacquered on the inside to soften the light.Giuseppe Ostuni decided to pursue a career in design and, like Gino Sarfatti, began to explore the manufacture of lighting. Self-taught, he founded Oluce in 1945, the oldest lamp manufacturing company in Italy. At the beginning of his career, he was criticised. However, in 1949, as soon as he proposed the "Ochetta" lamp, his ingenuity aroused interest. His success was due to the distinctive design of this lamp, which allowed it to act as both a bedside lamp and a wall lamp. In the 1950s, despite strong competition from a number of up-and-coming Italian modernist lighting brands such as Arredoluce, Arteluce, Azucena, Lamperti and Stilnovo, Oluce, thanks to the Ochetta model, established itself on the Italian market and was fundamental to Italy's international success in the field of lighting design. Also fundamental was the collaboration in those years with some of the most important talents of the time, such as Joe Colombo, Bruno Gecchelin, Vico Magistretti and Marco Zanuso, who contributed to confirming the company as a true force in post-war design thanks to a series of designs that are iconic today.
Lot 148
Table lamp Design STL Studio for LAMPERTI ROBBIATE."Guscio", 1970s.Lamp body in chromed metal. Diffuser in white Murano glass with chrome-plated metal rim.Measurements: 17 x 28 cm.The Italian design of the seventies remains attentive to the aesthetic guidelines that govern European design: the tendency to favour rounded and enveloping shapes, flat colours... In short, an elegance without stridency.
Lot 26
Pair of lamps, after 17th century models; early 20th century.Gilded wood, brass and marble base.Slight damage to the carving.Measurements: 72 x 10 x 10 cm (x2).Set made up of two lamps of identical structure made of carved and gilded wood. Each of the pieces has a black marble base with white veining and a square perimeter. On this base is the shaft of the lamps, which is very vertical, simulating the shaft of a column with a fluted finish. Both shafts are topped by a composite capital that combines the characteristic Ionic volutes with the acanthus leaves typical of the Corinthian order. Above the capitals is a gilded metal structure that rises to form two different channels from which the light bulbs, two in each lamp, hang.
Lot 96
Designer floor lamp. 1980s.Methacrylate base with chromed metal base. Parchment lampshade.Three points of light.Measurements: 168 cm (height).Elegant design lamp. The foot is formed by a central circular structure of methacrylate with the foot of chromed metal of square form the base. Square parchment lampshade.
Lot 812
LATE 19TH CENTURY BRASS TABLE LAMP,on square hardstone base to four cast paw feet, converted to electricity, 53.5cm high excluding fitmentCondition report: Condition good to fair. One prismatic drop is missing. Area if damage to the stem. Areas of paint residue to body. No bulb so unable to test working order. Additional images now available.
Lot 644
VITASCOPE ART DECO AUTOMATON CLOCK,circa 1940s, electric powered movement, the chrome chapter ring with Arabic numerals, below a perspex window revealing a three-masted ship on stormy seas, in a grey bakelite case, bearing stickers to the reverse, 31.2cm highCondition report: Condition good to fair.The case is with light age related wear. The Perspex screen may need slight adjustment. Chrome hands and chapter ring with wear too and may need slight polish.Mechamism and lamp working at time of testing.The case is in grey Bakelite.Additional images now available.
Lot 124
A PORCELAIN TABLE LAMP BASE with floral relief decoration, 38cm high excluding electrical fitting Condition Report : generally very good, possibly slight damage to petals Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition. We have been informed this is an Italian Casa Pupo lamp
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307192 item(s)/page