Marianne Starck Table Lamp
$275
Vintage Marianne Starck ceramic table lamp designed for Michael Andersen & Son ceramics. Hexagonal base with a matte hare's fur glaze in brown tones. Original socket with switch. Stamped at the bottom. Paired with a new beige fabric covered clip on shade.
In great, used condition. Smaller marks on socket, not visible with lamp shade.
Lamp height including shade is 14.5", shade bottom diameter is 8". New cloth covered twisted cord in beige, with antique style phenolic plug. Socket fits a standard E26 bulb.
Michael Andersen & Son is a Danish ceramics manufacturer founded in 1890 by Jens Michael Andersen in Rønne on the island of Bornholm, Denmark. Bornholm was already a major center of Danish ceramics, and the workshop became one of the island’s most notable producers. Early production included kitchenware, vases, figurines, and decorative vessels, often inspired by Greek or Nordic forms. The studio gained artistic recognition in the early 1900s through Art Nouveau and Art Deco-influenced ceramics. One of the company’s most important contributions was the Persia glaze, characterized by its iridescent, crackled surface and rich colors, developed by Daniel Folkmann Andersen in the 1930s. Collectors often identify their pieces by the three-fish emblem, representing the coat of arms of the city of Rønne. The factory remained active throughout the 20th century and continued producing ceramics until 1993, when artist Solveig Ussing took over the workshop and continued smaller-scale production using some original molds.
German designer Marianne Starck (1938-2007) joined the company in 1955, soon becoming their artistic director. Starck introduced modernist forms and abstract decoration and moved the company toward mid-century Scandinavian design aesthetics. Clean, sculptural profiles were paired with textured surfaces, hare's fur or crystalline glazes.
German designer Marianne Starck (1938-2007) joined the company in 1955, soon becoming their artistic director. Starck introduced modernist forms and abstract decoration and moved the company toward mid-century Scandinavian design aesthetics. Clean, sculptural profiles were paired with textured surfaces, hare's fur or crystalline glazes.