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Pop table lamp made in France, in the 1970s
Pop table lamp made in France, in the 1970s
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Suave and elegant globe table lamp made in France in the 1970s. With a minimalist design, this lamp features a spiral, discrete metal support as a lamp base. The opaque white globe falls both into Pop and Atomic Age aesthetics. The lamp has it’s original electrics, including the plug and the switch.
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.
Cord legth: 140 cm, Original plug, Original switch, Original wiring
European plug (up to 240V), Type E plug
Approx. 1,5 kg
23 cm diameter (the globe), Lamp base = 22 cm, Total height = 44 cm
If your delivery address is not in the European Union, Iceland, Liechtenstein, Norway, or Switzerland, please be advised that import duty is not included in the prices you see online
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.
Set of two vintage table lamp from the 1960’s, made by Gutilux (brand marked on the bottom), in Romania. The lamp is made of metal (except the bottom, which is made of plastic). It features the original switch and lightbulb socket and is in good vintage condition.
Beautiful ceramic table lamp made in Denmark in the 1960s. The base lamp, made of ceramic, is distinguished by the play between the vivid orange glazed top and the naked clay (without glaze) brown bottom. Both the color and the technique are specific to the period. The piece is kept in a very good condition, without visible defects and has all it’s original elements (lightbulb socket, switch, electric cord, plug).
Very rare stoneware table lamp designed and handmade by Josef Simon for Søholm Stentøj, Denmark, in the 1960s. The body, made of glazed ceramic, is remarkable due to its exquisite circular decoration in colors that speaks about earth, sand and sky. The lamp is signed on the bottom, “Simon”, has the Søholm Stentøj mark, the production number and also a “handmade” stamp, not to mention that Søholm Stentøj is not a lights factory but a ceramic art studio that values the design and quality. The lamp is in very good condition. An extremely rare and refined piece of Danish Modern design.
Denmark has a rich tradition of producing Fine ceramics and original pottery dating back several hundred years and one of the greatest was Søholm. Søholm was founded in 1835 and is the oldest ceramic factory in Bornholm, a Danish island famous for its pottery and fine ceramics artisans. The pottery from the 1950s-1960s is often characterized by the sleek lines, streamlined design and innovative use of materials – just as the famous Danish Mid-Century Furniture. The factory closed in 1996.
Spectacular table lamp signed Val Saint Lambert. This hand-made piece is made in the 1960s by the most prominent crystal manufacturer in Benelux, official supplier to H.M. the King of Belgium. Signed on the bottom, “Val St. Lambert”. Still has the original label. The piece is in a very good condition.
History of Val St. Lambert: In June 1826, smoke was rising from the chimney of the Cistercian abbey in Seraing, near Liège: the first furnace of the Val Saint Lambert Crystal Works had just been fired up. Val Saint Lambert would rapidly emerge as the epicentre of the Belgian crystal industry. For all the preconditions for a successful industry were met: the vicinity to the Meuse, a coal-rich region, a rail network, and even the enormous monastery facilities, which were ideally suited for artistic and craft activities on a large scale.
The end of the 19th century ushered in a golden age for Val Saint Lambert. The site around the former abbey expanded into an impressive village with more than 180 worker dwellings, with small gardens, a school, a shop, and even a hospital. In the crystal works, by now world famous, some 5,000 employees produced 120,000 unique crystal creations each day.
World War I brought an abrupt end to the expansion. Several key markets disappeared: the Balkans, the Russian tsars and Germany. The great depression of 1929 and the bombardment of World War II meant a further decline for the crystal works. This situation lasted up to the 1960s and 1970s, before two major innovations breathed new life into Val Saint Lambert: the introduction of the diamond disc for better cutting and engraving, and the replacement of the traditional pot furnace by a bath furnace, which melted solid raw materials into liquid glass.
From the 1970s the company’s history is marked by several restructurings and takeovers. Today, the Val Saint Lambert Crystal Works are in the hands of the Onclin family, which aspires to reinstate the brand on a global level.