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Atomic Age Ceiling Lamp, 1960s
Atomic Age Ceiling Lamp, 1960s
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This Atomic Age ceiling lamp was made in Belgium, in the 1960s. The lamp has 5 spherical lamp shades and is made of chromed metal. The overall look is strongly influenced by Atomic or Space Age aesthetics. It is well preserved and in full working order with the original electrical wiring.
Beautiful Space Age table lamp made in Germany, in the mid 20th century. The base of the lamp, resembling the fins of a rocket are made of beige plastic. The lightshade, made of dark brown bakelite also features an aerodynamic shape. Made in the 1960s, this is a representative piece fort the aesthetics of the Space Race era.
The Space Age is a time period encompassing the activities related to the Space Race, space exploration, space technology, and the cultural developments influenced by these events. The Space Age is generally considered to have begun with Sputnik (1957). During the 1950s, architecture, furniture, interior design, cars, and gadget design took on a curiously spaceflight-inspired aesthetic.
Beautiful Living Room set consisting of a sofa and two armchairs designed by the famous Bruksbo Tegnekontor design studio and made at Stranda Industri a/s in the 1960s. This set is the creation of Torbjørn Afdal, the most famous of their designers. The rosewood frame, the wide armrests, the minimalist outline, all are typical for his style. Both the sofa and the armchairs have their original upholstery.
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Atomic Age in design refers to the period roughly corresponding to 1940–1960 and extending in the 1970s, when concerns about nuclear war dominated Western society during the Cold War. The discovery and development of the Electron microscope had also a huge impact. Architecture, industrial design, commercial design (including advertising), interior design, and fine arts were all influenced by the themes of atomic science, as well as the Space Age, which coincided with that period. Atomic Age design became popular and instantly recognizable, with a use of atomic motifs and space age symbols. Retrofuturism is a current resurgence of interest in Atomic Age design.
Free-form organic shapes also appear as a recurring theme in Atomic Age design, reflecting x-ray technology that was becoming more widespread and familiar in pop culture. These botanic designs influenced later the patterns that included repeating organic shapes similar to cells and organisms viewed through a microscope.
“Vital forms”, or abstract organic forms, were identified as a core motif. Atomic power was a paradox during the era. It held great promise of technological solutions for the problems facing an increasingly complex world; at the same time, people were fearful of a nuclear armageddon, after the use of the atomic bomb at the end of World War II. People were ever-aware of the potential good, and lurking menace, in technology. Science became more visible in the mainstream culture through Atomic Age design.
Atomic particles themselves were reproduced in visual design, in areas ranging from architecture to barkcloth patterns. The geometric atomic patterns that were produced in textiles, industrial materials, melamine counter tops, dishware and wallpaper, and many other items, are emblematic of Atomic Age design. The Space Age interests of the public also began showing up in Atomic Age designs, with star and galaxy motifs appearing with the atomic graphics.
Elegant Art Deco oval vanity mirror made in France in the 1930s. The mirror is attached to the frame at two points on the side and can be easily adjusted according to the desired position. The piece is kept in a good condition.
Superb and very rare three seats sofa produced by P. I. Langlo's Fabrikker, the father of the Norwegian Modern furniture, sometime between 1932 and 1940. This piece, made of rosewood, already shows some of the representative elements of the Scandinavian Modern Style: flared legs and brass shoes. The continuous line of the backrest and armrests provides an elegant and unitary outline. The pillows, with seagrass inside, are extremely comfortable. The sofa was reupholstered in the zeitgeist of Lango’s models. The pillows are green on a side and red on the other side (as shown in the pictures), so the seat of this sofa can change color depending on your taste and design needs. The sofa has the original label, specifying the factory, the type (1737) and the production number (245). Every P. I. Langlo's Fabrikker was hand-made, in several weeks. This is a highly rare piece, that despite its age (almost 80 years) is in very good condition.