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Set of 3 candlesticks by Fritz Nagel & Ceasar Stoffi for BMF
Set of 3 candlesticks by Fritz Nagel & Ceasar Stoffi for BMF
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Set of 3 candlesticks (model S 22) made of chrome plated steel and produced by BMF (Bayerische Metall Fabrik). This stackable candelsticks were designed by Fritz Nagel and Ceasar Stoffi in the 1960 and are considered icons of the Space Age / Atomic Age design. The Model 22 was in production from 1965 to 1970. The pieces are in very good condition, with no deterioration and only little traces of use.
Lot of 4 vintage table clocks made in Germany (Blessing, Mauthe, & Ruhla) and Czechoslovakia (Prim). All are in full working order. Each of them need to be manually winded once a day to operate.
Blessing: made in Germany in the 1950s, this mechanical alarm clock features Art Deco elements (hour marks, clock hands, clock base) and also the International Style aesthetics. Kept in very good vintage condition.
Mauthe: made in Germany in the 1940s, this is an Art Deco mechanical alarm clock. The case, in beige, is in sharp contrast to the black dial. At the top and in the lower area, the golden accents complete the sober and elegant image of this clock. Although is kept in a good overall condition, there are some very discrete scratches on the glass; also the phosphorus on the hour and minute hands of the clock have some minor defects.
Prim: made in Czechoslovakia in the 1970s, this is a metal case mechanical alarm clock. Kept in very good condition, this item is characterized by a minimalist, beautiful, modern look.
Ruhla: made in Germany in the 1970s, this mechanical alarm clock features a bright orange plastic case and a black dial with bold, prominent, hour marks. A beautiful and highly collectible table clock, featuring an Atomic/Space Era aesthetics.
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
A candlestick, chamberstick, or candelabrum (plural: candelabra) is a device used to hold a candle in place.
The name “candlestick” derives from the purpose of the device as a place to secure or “stick” a burning candle; candleholders have a cup or a spike (or both in some designs) to keep the candle in place. Webster’s II New College Dictionary defines a candlestick as “an often ornamental holder for securing a candle or candles.” Candlesticks are less frequently called “candleholders”, a word not found in most dictionaries prior to 1960.
Although electric lighting has phased out candles in many parts of the world, candlesticks and candelabra are still used in some Western countries homes as a decorative element or to add atmosphere on special occasions. Before the proliferation of electricity services, candles were brought into the bedroom using chambersticks, which were shorter than ordinary candleholders and furnished with a wide pan to catch the wax drippings.
In the context of candlesticks, a pricket is a sharp point onto which a candle is placed to keep it erect. On a regular candlestick, this may be a short point on the seat of the candle, but a “pricket candlestick” refers to a very large point (onto which the candle is placed) with a small base.
Candles and candlesticks are also used frequently in religious rituals and for spiritual means as both functional and symbolic lights. In Jewish homes, two candles are lit to mark the beginning of the Sabbath at sundown every Friday, hence, candlesticks are often on display. A seven-branched candelabrum known as the Menorah, is the national symbol of the State of Israel, based on the candelabrum that was used in the Temple in Jerusalem in ancient times. Another special candelabrum found in many Jewish homes is the Hanukiah, the Hanukkah menorah that holds eight candles, plus an extra one for lighting the others.
Tall candlesticks and altar lamps are often found in Christian churches as well, while a special set of two- and three-branched candelabra called the dikirion and trikirion is used by Eastern Catholic and Eastern Orthodox bishops to bless people at worship services.
Spectacular and very rare Luxor Swiss table clock made in the 1940s. This golden clock is an exponent of Art Deco aesthetics: supple and elegant lines, geometric shape, some decorative elements (the twisted little bar at the top). This is a 8 days mechanical clock with alarm (it has to be manually winded once a week to operate). It is in very good condition with only small age-related traces. Luxor clocks are highly prized by collectors around the world, both for their mechanism and aspect.
Selandia was designed by Per Lütken in the spring of 1957. The dish was fashioned by hand, and its shape is created when the glass blower carefully turns, raises and lowers the hot glass. The visual softness contained in the glass at 1400 degrees Celsius can be seen directly in the cooled, transparent version of the dish. The dish is decorated by engraving/glass cutting. Identified and dated on the bottom, “Holmegaard 19PL59” (Per Lütken signed almost always monogrammed with initials falling between the 4 digits of the year).
Spectacular vase from the famous Næbvase (Duckling or Beak vase) series, signed by Per Lütken and produced at Holmegaard. A very exquisite piece, which was appreciated since the beginning for its supple, organic and soft shape. Signed, identified and dated on the bottom, “Holmegaard 19PL55” (Per Lütken signed almost always monogrammed with initials falling between the 4 digits of the year). The Næbvase (Duckling or Beak vase) series was in production between 1952 and 1974.
Spectacular Murano sommerso vase for one flower (soliflore) in shades of red (the interior layer), yellow (the median layer) and blue (the outer layer). Because of its shape, this type of vase is also known as "Teardrop". The piece is made in the 1960s and is kept in very good condition, showing no visible deterioration. It has its original label.
When thinking of Murano glass, it is highly unlikely that we think of sand, yet this rare material is at the base of all glass production. Glass is firstly a mix of siliceous sand, soda, lime and potassium, which is put to melt inside an oven at a temperature of around 1.500 Celsius. After it has become flexible enough, it is removed with a pipe that will be used to blow the glass out while the glassmaker shapes and models it. The forms and colors given to each piece depend on the tools and chemicals used during its production. The techniques are also important..
One of the most common techniques is “Sommerso”, which in Italian literally means “submerged”. This technique is used to create several layers of glass (usually with different contrasting colors) inside a single object, giving the illusion of “immersed” colors that lay on top of each other without mixing. This is done by uniting different layers of glass through heat and repeatedly immersing them in pots of molten colored glass. This technique is quite recognizable: it is characterized by an outer layer of colorless glass and thick layers of colored glass inside it, as if a big drop of color had been captured inside the transparent glass. When one first sees these objects, it seems almost impossible to conceive such beautiful colors being locked so perfectly inside what would seem solid glass, and then undoubtedly one begins to wonder how ever did they manage to achieve such a complex game of shapes and colors right in the middle of a clear glass object.