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Spectacular pair of bedside table lamps by Wessel-Herford
Spectacular pair of bedside table lamps by Wessel-Herford
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Spectacular pair of bedside table lamps made by Wessel-Herford in Germany, in the late 1970s or early 1980s. The light shades are made of plastic. The base and the tubing are made of white painted bronze. Each lamp feature two lightbulb sockets and a pull switch. Amazingly beautiful, this minimalist pieces show the naked elegance of the German geometric design. On the bottom, the label of the maker is still present and it specifies also the production number (8528). The lamps are in very good vintage condition.
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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Cord length: 130 cm, Original lightbulb sockets, Original switch
1800 g each
23 cm base diameter, 40 cm lightshade diameter, 55 cm total height
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
Where should I use table lamp?
Table lamp can be used in any space, though they are most often found in bedrooms, living rooms and home offices next to sofas, chairs or beds. Although they can act as a primary light fixture, they are most often used as supplemental lighting for more detail-oriented tasks. They also work well in hallways, stairwells and near doorways since they ensure no one trips and falls while walking. In the end, lamp placement is a personal preference: They can and should be placed wherever you need extra light.
How many bedside table lamp do I need?
Typically, most rooms need two table lamp, but a larger, open concept space may need many more. To test out your lamp requirements, turn off your overhead light and turn on all your current lights. Walk around the room and see which corners lack light, and determine whether or not those spaces need coverage. It’s great to have different levels of light, so even if your main fixture covers good ground, you might want an additional just-in-case options too.
How do I determine the right size table lamp?
Pay attention to the height and shade width of potential table lamps: You want it to be both functional and proportional to the room’s decor. When sitting on a table, be sure that the lamp is tall enough to cast light over your shoulder for reading. If it’s more of a decorative piece, you want the height to complement its surrounding furnishings. As for the shade, remember that a narrow brim will cast direct light while a wider one will allow the light to shine on a larger area. Determine where you want the light to reach to decide what’s right for you. In addition, be sure the shade contains the lamp’s bulb and socket since these should not be visible.
What style lamp should I buy?
Since table lamp are merely accessories, they should complement your already-there furniture pieces and overall style. Tiffany table lamp and pieces with gold or glass bases are often more traditional, while sleek metal or uniquely shaped fixtures are often more trendy and contemporary. If you’re looking for a cheap fix, try swapping out the lamp shade for a bright, patterned alternative. For those that love a mismatched look, use two different options, but be careful: Although it’s great to have variety, they also might clash.
Beautiful ceramic table lamp designed by Einar Johansen and produced by Søholm Stentøj, Denmark, in the late 1960s. The body, pear-shaped, is remarkable due to the simplicity of line and earthy colors. 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.
Einar Johansen was a Danish ceramicist, who trained as a painter at the Royal Danish Academy of Fine Arts in Copenhagen, but later changed his mind and became a pottery maker. He had his own pottery in the period 1935-1958. He was employed at Søholm in the period 1958-1968, and designed several, beautiful stoneware and pottery – among these, his famous blue glazed stoneware. He worked for Knabstrup (a Danish Pottery) in the early 1970s.
Søholm Stentøj was founded in 1835 by Edvard Christian Sonne and Herman Sonne Wolffsen in Bornholm, Denmark. 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.
Famous magnetic Ball wall lamp designed by Benny Frandsen in the late 1960s, the lamp that led to the founding of the ABO Randers A/S company. It is in a very good shape, with only small age-related traces. This wall light enroll in both the Scandinavian Modern and Space Race aesthetics, being an icon of European design in the second half of the 20th century.
Benny Frandsen (b. 1941, named after jazz-clarinetist Benny Goodman) is a Danish designer and lighting producer. He was educated as an electronics engineer but his passion was to design light. By 1966, he had already designed some lamps for a discotheque, and then Frandsen tried to convince his boss to start a lighting production, but no luck. Afterwards, Benny Frandsen established Frandsen Lamps in 1968, by himself, and was located in his home in Skanderborg in Jutland. He designed geometric lamps, but the business was slow. Frandsen discovered that, the Danes wanted round lamps and not geometric lamps, so he began designing a round light instead. Here emerges the ultimate round lamp, a ball that was attached to a wall bracket with a magnet. This was a game changer for Frandsen. Everybody wanted the Ball wall lamp with magnet. Since then, there has been made many variations of this Ball lamp. In 1972, Frandsen starts a factory in Skanderborg, to keep up with the many requests. But by 1993 the company is sold to the Frits Concern, whom merges the lighting production with Lyskilde. This led to Frandsen winning the role of the director, under the new company name, Frandsen Lyskilde. Eventually Benny Frandsen buys the company back in 1996, as the Frits Concern closes, and reestablishes Frandsen Lighting.
Atomic Age pendant ceiling lamp made in Germany, in the late 1960s or early 1970s. The lamp shade is made of glazed ceramic. The vivid colors (of earth and fire), the organic lines and the circular shape, all shows the influence of the Atomic/Space Age aesthetics. The cord is adjustable.
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 Atomic Age 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.