Lamps of Glass and Majolica
Among the 60 lamps of unknown origin there are 6 lamps completely made of glass and 7 lamps with majolica parts. Most of these lamps are probably from Germany, or partly from Austria.
Glass lamps of unknown origin
From left: L.045 – L.114 – L.013 / L.248 – L.266 – L.088
The intense blue glass body of lamp L.045 is probably blown into shape in individual parts and later firmly joined together. The attraction of this lamp is the blue colour, which reveals its beauty in daylight; the sparse painting is rather insignificant. The tulip shade is from St. Louis.
L.115 is perfectly identifiable as Bohemian craftsmanship. Its burner with the Chinese characters is very probably by Brökelmann, Jaeger & Busse. The lamp came to me from the USA! The large tulip shade, which matches well in colour, is by Fenton in the USA.
L.013 in the conical goblet shape consists of a light blue glass vase and a drop-in font made of the same glass. A finely painted depiction of a bird is the ornament of the lamp. A ball shade from Baccarat is used here.
L.248 is made of white opal glass with enamel painting of historicism. The parts of this lamp are also firmly joined together to form a single unit. The tulip shade is from St. Louis.
The lamp L.266 with the vertically ribbed Vesta shade is probably quite a bit older than the other lamps. The font and the base of light grey opal glass are masterfully joined here with a red, likewise ribbed central section.
The lamp L.088 consists entirely of intricately cut glass parts. The base made of black glass with long slice cuts is connected to the font made of colourless crystal glass by a small centre piece of likewise cut glass. The font itself is decorated with different cuts. I have taken the liberty of putting a colourless Vesta shade with matching hand-cut on here, even though it probably dates from a much later time.
Lamps with majolica vases
From left: L.019 – L.042 – L.026 / L.030 – L.155 – L.365 – L.133
L.019 is a fine example of fine majolica lamps in Art Nouveau style. The intense crimson colour goes well with the zinc cast base with light bronze colour. I think the exalted Vesta shade has a painting that is fitting after all.
The lamp L.042 is probably unique, because it consists of the majolica vase of a hanging lamp, whose cast iron suspension ring is still attached. The supporting arms of the hanging device have been sawn off and the lamp has been given a base turned from solid brass. The painting of the vase in a cheerful rococo design is very attractive. The lamp was given a painted shade to match.
L.026 also impresses with an Art Nouveau vase in bright colours. Here the base is made of cast brass. The shade is no less exalted in form and painting.
L.030 is also from the Art Nouveau period. Painting with small, stylised flowers was very common at the time. This lamp came from Austria, but with a German burner! The ball shade is hand-cut in the lower half.
The slightly smaller L.155 is also painted with small flowers; their golden frames are better preserved here. The large-flower painted Vesta shade is by Schreiber & Neffen from Vienna.
The last lamp in the collection, L.365, is a large lamp with an 18’’’ Sonnenbrenner and an elaborately designed base on three feet. Here a butterfly flaunts amidst small and large flowers. This lamp is one of the few lamps in my collection where I did not have to replace or add anything.
The lamp L.133 on the far right of the photo is also painted with flowers that could be by Zsolnay or Ignác Fischer, but a signature for it is missing. The Vesta shade in modern form is also finely painted.