Early 20th-Century Champlevé Table Lamp With Butterfly Handles

Description

Excellent Pre-Owned Condition.

We acquired this gorgeous champlevé table lamp from a lovely lady’s estate. She was in a downsizing … more Excellent Pre-Owned Condition.

We acquired this gorgeous champlevé table lamp from a lovely lady’s estate. She was in a downsizing mode, at the age of 97 and was the lamp’s original owner. No major changes have taken place since acquiring it other than replacing the original lamp shade with the golden beige dupioni-like scallop bell lamp shade you see in the photos, included with the lamp’s purchase. I lightly polished all of the brass, leaving a little of the patina as an accent and replaced the felted bottom, which was literally worn off. The amazing floral and foliate motif coupled with the rich soothing color palette will complement and accent any space, from modern to rustic farmhouse! Of note, there is some wear to the brass finish and have attempted to show this in the photo close-ups. It was like this when we acquired it but it did not deter us, nor does it detract from the lamp’s splendor. As a whole, this beauty is in excellent antique condition with wear that is consistent for a lamp of its age.

Features:
Materials: Iron, brass, hard-finished enamel lamp base; dupioni-like lamp shade; brass harp and finial
Dimensions: Lamp -30” tall from finial top to base; 27½” middle circumference; 9” overall width; 6” base diameter; lamp shade - 9” x 16” top diameter/bottom diameter; 12” slant (height)
Colors: Floral and foliate motif in rich soothing botanical colors (see photos); golden beige dupioni-like scallop bell lamp shade; brass harp and finial
Wattage: 3-way switch; in full working order with original wiring; accommodates a 3-way bulb up to 150 watts
Weight: 12½ lbs.
Origin: Unknown

What is Champlevé (shahmp-luh-vay)?
Champlevé is from the French meaning “raised field” or “raised plane”. Its origin dates back to the Celtic work of the first century AD. Champlevé is accomplished by pouring molten glass into depressions carved into bronze objects and jewelry. This technique developed and flourished in medieval Europe and produces highly controlled and sharp detail. The process is the very opposite of the cloisonné technique: instead of building up on the surface of the metal object, the surface is carved, creating troughs and hollows separated by raised lines of metal that form the outline of the design. The hollows are filled with pulverized enamel which is then fired until the enamel fuses and when cooled, the surface of the object is polished. The uncarved portions of the original surface remain visible as a frame for the enamel designs. Because the technique depends on carving out metal, champlevé calls for a thick metal base and therefore is used on copper and other base metals.

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