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Lot 114
W. A. S. BENSON (1854-1924) ARTS & CRAFTS TABLE LAMP, CIRCA 1890 brass, copper and cast iron with frilled opalescent glass shade, stamped maker's mark W. A. S. BENSON(height including shade 63cm)Footnote: Literature: Hamerton, Ian (ed.) W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design, ACC, 2005, Appendix 1A, p. 248, pl. 34 where the design for this lamp is illustrated (no. 393)
Lot 119
W.A.S. BENSON (1854-1924) TABLE LAMP, CIRCA 1910 brass with opalescent glass shade, stamped maker's mark to base(29cm high)Footnote: Literature: Hamerton Ian (edt.), W.A.S. Benson: Arts & Crafts Luminary and Pioneer of Modern Design, ACC 2005, p.151, pl. 132 where a similar example is illustrated.
Lot 425
ÉMILE GALLÉ (1864-1904) RARE COROLLA LAMP, 1902-1903 overlaid, acid-etched and fire-polished glass, traces of original gilding to the base, bears maker’s marks to shade and base GALLÉ(shade 35cm high, base 32cm high, approx. total height 64cm)Footnote: Literature: Charpentier, Françoise-Thérèse Le Théâtre du peuple a eu 100 ans cet été 1995, Arts Nouveaux, Bulletin de l'Association des Amis du Musée de l’Ecole de Nancy, 1996, n° 12, pages 3 - 10 where a line drawing of this lamp is illustrated (see illustration) Note: For Émile Gallé, light was a source of justice, truth, and hope. Gallé was inspired by the symbolism of the lamp at a very young age and later he discovered that light also gives other nuances to glass. The arrival of electricity multiplied the decorative possibilities. At the Exposition Universelle of 1889 he created a large ornamental glasswork lamp in the form of a mosque, ‘an immense night-light as if veiled in black silk’. At the Salon du Champ-de-Mars of 1892, he exhibited a ‘violet-aubergine crystal lamp’ inscribed as Twilight with flowers mingled with amethysts and described by the French poet and essayist Sully-Prudhomme at the time; “A large piece of a sumptuous, clouded blood-red purple with ruby shards. Purpurine and livid vegetation is chiselled in relief. The edges are coloured in an opaque dark red to the opening. The frame is made of an inverted corolla in a sculptured palustrine oak.” Gallé really began his interest in electric lighting from 1899, and it is only after the Exposition Universelle of 1900 that he really began to focus his attention on it. He created numerous models in 1902 and in fact supplied examples to the house of his eldest daughter Therese on the occasion of her marriage. He exhibited several lamps at the Marsan Pavilion at the Exposition de l’Ecole de Nancy in 1903 in Paris, which are very similar to the lamp offered here. Electric lighting created by Gallé is characterised by a very pronounced naturalism: hazelwood sconces, iris night-lights, squash girandoles, umbel or flower cluster pendant lamps, columbine suspension lights etc. They are rare and easy to identify - they cannot be confused with the models created in the factory after his death. The lamp presented here is inspired by the snowdrop (Galanthus nivalis). The lampshade and the feet, blown separately, are made of double- glass, the internal layer milky white and the external layer violet-aubergine. The piece is engraved with vegetable acid. Moreover, the feet are engraved in intaglio with stylised snow crystals and a vertical signature Gallé. This lamp is very rare. There is a less rare version with a wrought iron mount that has appeared at auction several times. The interest in these lamps, which date from 1902-03, rests in the fact that they were created by Émile Gallé himself. The majority of lamps that we more commonly find on the market were actually produced by the Etablissements Gallé, twenty years after Gallé’s death in 1904. Lyon & Turnbull would like to thank François Le Tacon for his work in compiling this note.
Lot 567
ALDO TURA (1909-1963) ITALIAN SCHOOL TABLE LAMP, CIRCA 1950 patinated parchment, brass, raised on a hardwood base(80.5cm high)Footnote: Note: Aldo Tura was one of Italy’s most prominent mid-century designers. His unique designs were typified by rich materials and highly-sculptural forms that featured more unusual and exotic materials such as eggshell, goatskin and parchment. A stylistic fusion of Art Deco and Modernism, Tura’s decorative works favoured the use of coloured and lacquered parchment, richly coloured with hues of red, green and yellow. Whilst many of his contemporaries turned towards industrial machinery and methods of mass-production, throughout his career Tura remained faithful to traditional hand-craftsmanship, choosing intricate forms and labour-intensive processes that celebrated the skill of both the designer and craftsman.
Lot 381
A collection of souvenir items, to include a carved stone building, two African heart stone models of a hippo and a rhino, a terracotta small oil lamp, mosaic panel depicting a palm tree by repute purchased in Petra, Jordan, another similar mosaic purchased in Madaba, Jordan, and a stone carving of Egyptian figures and hieroglyphics. (7)
Lot 1452
Various table lamps, 19thC Japanese hand painted vase, 23cm high, other brass lamps, a vaseline glass shade, Deco style and other shades, other material shades, etc., glass lamp base, (a quantity).Buyers Note: This lot contains untested or unsafe electrical items. It is supplied for scrap or re-conditioning only.
Lot 19
A gauge 1 live steam model of a narrow gauge saddle tank locomotive, by Roundhouse Engineering of Doncaster. The cab with fittings including steam pressure gauge, water sight glass and regulator. The model finished in blue, black and red livery with fitted handrails and lamp irons having builders plaque to cab side.
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307207 item(s)/page