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Alexander Lamont | Couture ‘Couture’ is Alexander Lamont’s limited collection of furniture, lighting and artwork elements. The Couture collection combines all of Alexander Lamont’s furniture and lighting in one volume as well as his wall and floor art pieces. New techniques and finishes have been added to the British designer’s repertoire: a Mighty Table finished in suji-dyed parchment; the Reel Stool combining thick cast aluminium and lines of shagreen; the sculptural Amaranth Table has been made with a newly developed red laquered Straw Marquetry top; Tourbillon tables in paved shagreen and lacquer. In lighting, wall sconces that grow like bronze orchids from the wall; a table lamp that appears to be formed entirely by hand; a group of sconces that exude whimsical and strong sculptural force with a very liveable beauty. Bold, elegant and unexpected, Alexander Lamont’s work results from a play of complex layers of materials, combinations of surfaces, textures and patinas and the meticulous detailing of every piece at every stage in the creative process. By reviving and innovating the precious traditions and materials of the past in his own workshops, and applying the luxuries of time and patience to contemporary designs, Lamont creates elements of vitality that dwell in the margin between art and furniture.


Collection Index The Story of Our Materials

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Furniture

Page 6 Page 12 Page 18 Page 20 Page 22 Page 24 Page 30 Page 32 Page 42 Page 46 Page 48 Page 52 Page 54 Page 56 Page 58 Page 60 Page 62 Page 66 Page 70 Page 72 Page 74 Page 78 Page 80 Page 82 Page 84 Page 86 Page 88 Page 90 Page 94

Tourbillon Table Mighty Table Angle Coffee Table Fillo Long Table Structure Table Plain Table Alexandria Salon Table Amaranth Lamp Table Vespers Low Table Brancusi Spiral Table Bague Spot Table / Bague Stand Table Block Arm Table Branch Side Table Square Branch Side Table Round Mahjong Block Accent Table Tree Table Kertas Console Facet Console Vesper Console Fougere Dining Table Ocean Armoire River Ledge Credenza Jermyn Bar Cabinet Reel Stool Grove Stool Fan Tabouret Japan Block Stool Fillo Mirror Magnificat Mirror

Lighting

Demi-Monde Floor Lamp Moulin Floor Lamp Dorian Floor Lamp Branch Floor Lamp Nicko Lamp Bella Figura Lamp Liana Floor Lamp Lithe Uplight Carapace Uplight Inlet Table Lamp Cornice Table Lamp Canister Table Lamp Inhale Table Lamp Globe Table Lamp Quilted Table Lamp Rive Table Lamp Shagreen Stem Table Lamp Drop Lamp Fondre Table Lamp Geo Table Lamp Ruche Lantern Woven Orb Lanterns Cicada Lanterns Marquis Sconce Hourglass Sconce Lacuna Sconce Archer Sconce Folly Sconce Labellum Wall Sconce Folly Gesso Ceiling Light

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96 98 100 102 104 106 108 110 112 114 118 120 122 126 128 130 132 134 136 140 142 144 146 150 152 154 156 158 160 162

Artwork

Lustre Stones Flash Discs Hide Disc Bronze Giant Leaves Bubbles Bronze Verta Sculptures

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164 166 168 170 172 174

Material Swatches Lighting Specifications Product Care Shipping and Lead Times

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175 177 179 183

Furniture

Coffee Table Side Table Console Dining Table Cabinet Stool Mirror

Lighting

Floor Lamps Table Lamps Lanterns Sconce Ceiling Light

Artwork


The Story of Our Materials Alexander Lamont works with techniques and methods that originate in the traditions of European and Asian decorative arts. Materials that are chosen for their vitality, texture and beauty, are worked by hand to reveal their unique characters through subtle and innovative forms. The processes used in our workshops in no way differ from the methods applied and perfected for centuries. Like the Japanese craftsman, we prefer natural lacquer over synthetic varnishes. Like the decorators of the 1920’s we use raw shagreen skins, and not tanned skins. Like the European gilders and Siamese Buddha sculptors we use real gold leaf instead of faux. The reason for these choices is the evident superiority of one material over the other – its beauty to the eye and the hand. Our vision is to bring an evolving, fresh point of view to the most beautiful craft materials in the world using the slow, uncompromising techniques of the past combined with contemporary designs.

Lacquer

Lacquer or in Japanese, ‘urushi’, is a natural material extracted from trees and seeds. Natural lacquer is far superior to any synthetic lacquers. Thailand has an ideal climate for natural lacquer as humidity and heat are required for the curing process. The Alexander Lamont lacquer workshop uses natural lacquer and employs the same traditional methods that were used by the Paris-based designers Jean Dunand and Eileen Gray in the 1920s, as taught to them by the famous Japanese lacquer master Sugiwara.

In our lacquer workshops we also make eggshell lacquer: small pieces of chicken or duck shell are cracked carefully using pins so that the pieces fit like a jigsaw across the surface. The finished surface may then be lacquered with cashew lacquer to give a deep rouge tone and accentuate the pattern. The presence of other rare craft skills in the one location has enabled our lacquer workshops to create unique finishes blending the materials of Europe and Asia for the first time. The layering of panels of stingray skin with coats of cinnabar lacquer creates the signature ‘Opium Lacquer’ finish, and applying lacquer over layers of straw and gesso creates the sublime ‘Lacquered Straw’ finish.

Indications : Our lacquer is applied by hand in the traditional method and therefore may display some variations in colour, tone and depth. As with 1920’s masterpieces now occasionally glimpsed at auctions, we consider such variations to form part of the natural character of each piece.

Gold Sand

At Alexander Lamont we have perfected the 18th century technique of transforming sand into a solid and elegant textured surface. It was first used to create a matte counter-balance to the high shine of burnished gold leaf in the heavily carved picture frames hung in the Catholic churches and cathedrals of Europe.

Indications : Sand creates a wonderful ‘rough’ durable surface. However it may display variations in tone, texture and colour.

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Shagreen or Galuchat

The myriad ivory beads of the stingray skin create a mesmerizing and reflective texture that enhances and rarifies the surfaces of Alexander Lamont’s furniture, lighting and accessories. During the Art Deco period, shagreen or in French, Galuchat became popular among celebrated decorators such as Clement Rousseau and Andre‘ Groult, who applied stingray skin to their furniture and lighting collections. Before this the English had prized the material as a protective and decorative layer, dyed in emerald tones, applied to their scientific and medical instruments and earlier still the Japanese used shagreen on their armour and swords.

At the Alexander Lamont shagreen workshop we use only the traditional raw stingray skins in our work because the durability is greater, the finish more tactile and the myriad natural tones more beautiful than those of pre-dyed chromium-tanned skins. In addition our method does not involve the unpleasant polluting process for which tanned skins are notorious.

Indications : We select the highest quality skins in grade A condition. Stingray skins are a natural material and display colour and textural variations in individual pieces. Stingray skins are very durable being made largely from natural enamel.

Bronze

Strong, yet flexible, bronze is a sculptural material that has been employed in the decorative arts of Europe, Africa and Asia for millenia. Lost-wax casting requires a model of the piece to be made in wax. All Alexander Lamont models and molds are made in-house. The wax model is covered with ceramic clay, dried and heated. The wax melts and pours out (is lost) through flues, leaving a cavity the same as the original wax. Molten bronze is poured into the cavity. The flues act as drains and avoid pressure build-up, allowing the bronze to fill the space. The clay is broken and a bronze model remains that requires arduous sanding, chasing and finishing.

Indications : At Alexander Lamont we work in both bronze and brass depending on the item. We use the term bronze to refer to both materials.

Bronze is slightly softer and a tone darker than brass due to its relatively high copper content. Patinated brass is often preferred to bronze as a base material due to its relative strength and the resulting ability to create thinner, lighter pieces. Whatever the copper alloy, we achieve our desired quality partly through the base material but mainly through the control of the modeling, mold-making and patination.

As part of the finishing process, we apply various patinas to our brass and bronze products. Our patinas are applied by hand and display variations in tone and colour.

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Straw Marquetry

Natural straw has a wonderful reflective surface. At Alexander Lamont we use this decorative material in furniture, lighting, accessories and mirror frames. Straw marquetry is the craft of forming a decorative panel using flattened slithers of cured rye straw. To make straw marquetry we receive the straw in tall sheafs from Europe, the stem must be split, flattened, softened and sometimes scraped or ironed into a flat ribbon. It is then glued edge to edge to a paper or wood backing until the surface is covered. The work is very slow and requires great precision. We use straw in its natural golden tone and also dyed to beige, bronze and black tones.

Indications : The dyeing, preparation and inlaying of our straw is all carried out by hand. The surface is varied in colour tone in order to accentuate the pattern and reflectiveness of the straw.

Parchment

With a surface like sheets of soft ivory, parchment was the first ‘paper’ in Europe used for precious illuminated manuscripts in the medieval age. It later became popular as a decorative surface during the early twentieth century when decorators searched for luxurious materials that exuded a minimal simplicity.

Parchment is made from goatskins. It is not tanned, like leather, but stretched, scraped and dried under tension, yielding a stiff, translucent skin that requires great skill to dye and successfully apply to a wood substrate. At Alexander Lamont we have developed our application method over 10 years in the manner of the Parisien artisans of the 1910s – 1930s. We have also developed printing and dyeing methods that create layers of pattern over the surfaces while retaining the ‘raw’ skin characteristics and textures of the material.

Indications : Parchment characteristically shows the striking markings and variations in texture and colour of the original goatskin.

Gesso

Traditional gesso is made by combining gypsum powder and natural hide glue. The resulting material is applied hot in multiple layers and sanded between each layer to achieve a perfectly smooth material layer that supports various hand-applied finishes including water-gilding, natural lacquer and cracked wax polished surfaces.

At Alexander Lamont’s workshop we use gesso to achieve certain surfaces upon which lacquer or pigment or wax is then applied. Through various techniques we achieve innovative effects such as ‘craquelure’ that resonate of antique crackled tusk or smoldering embers.

Indications : Our laquered gesso is made by hand in the traditional method and therefore displays some variations in colour, tone and pattern. We consider such variations to form part of the natural character of each piece.

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Gilt Leaf

At Alexander Lamont we use pure gold and silver leaf for gilding. The gold is hammered by hand in Thailand. The leaves are then prepared on a vellum pad, cut by gilding knives and lifted by special brushes before being applied by hand onto a lacquer, shagreen or bronze surface. Gold and silver leaf is extremely thin but will last many years if not rubbed or touched excessively. The translucency of precious metal leaf means that to achieve a shiny result, the surface below the leaf must be perfectly smooth and polished.

Indications : Gold tarnishes slightly over time while silver oxidizes faster. At Alexander Lamont we believe that tarnishing is a beautiful aspect of real gold and silver that does not occur on faux metals and that it should be regarded as part of the metal’s ageing and natural patination process.

Rock Crystal

Translucent and opaque, clear and amber hued, lacey with drifting inclusions, crystals create the most evocative natural lighting elements lending an atmosphere of old world elegance. For our lighting and accessory collections, Alexander Lamont works with natural stone such as calcite and fluorite, rock crystal from Brazil, faux rock crystal, selenite and leaded crystal.

Indications : Inclusions are a natural characteristic of rock crystal and the very reason why it makes such beautiful decorative elements. Variations in tone, colour and depth should therefore be expected and these will create different effects through different areas of the rock crystal.

Peking Glass

The term ‘Peking Glass’ refers to a particular method of creating glass developed by the imperial workshops in Peking during the Qing Dynasty. Alexander Lamont works with kilns in Peking to create modern forms of bowls and vases in burnt amber, imperial yellow and white-jade colours.

A kiln is filled with raw glass ‘frit’ mixed with pigment. Molten glass is repeatedly ‘gathered’ from the kiln on a blowpipe until a heavy ‘gob’ is collected. The repeated gatherings give rise to the unique rings on our glass forms. The glass must be ‘annealed’ (slowly cooled). The final shaping and polishing is done by hand in the old jade-cutting process of methodical grinding. This stage alone takes from two to four days for every piece.

Indications : Our Peking Glass objects are gathered and blown by hand and display variations in colour and tone.

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Tourbillon Table | PavĂŠ Shagreen A low generous table covered with shagreen inlaid in a paving stone pattern that is sanded and polished revealing the subtle contrast of ivory beads and natural chocolate tone. Bronze feet. SF-558/SH/NC

W 27 1/2 in W 70 cm

Table Edge

1 1/8 in 3 cm

L 65 in L 165 cm

Materials : Shagreen, Bronze, Smoked Larch Veneer

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6

H 15 in H 38 cm


Tourbillon Table | Parallel Lines Shagreen Raw shagreen is inlaid in parallel lines of varying width and then deeply polished creating a subtle contemporary centre panel between shoulders of rich natural black lacquer. Raised on bronze feet. SF-558/SH/NC 1

W 27 1/2 in W 70 cm

Table Edge

1 1/8 in 3 cm

L 65 in L 165 cm

Materials : Shagreen, Bronze, Black Lacquer

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8

H 15 in H 38 cm


Tourbillon Table | Bronze Straw Sunbursts Natural black lacquer ribs and underside frame a centre field of irregular bronze straw marquetry sunburst squares that strikingly catch and reflect the light. Bronze feet lift the table. SF-558/SW/BLSB

W 27 1/2 in W 70 cm

Table Edge

1 1/8 in 3 cm

L 65 in L 165 cm

Materials : Black Lacquer, Straw Marquetry, Bronze

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H 15 in H 38 cm


Mighty Table | Suji Parchment Parchment is hand-dyed in suji technique creating a shimmering linear effect that flows across the surface of this panelled table. Parchment has an organic softness to its texture but is extremely durable. The table is raised on reclaimed hardwood blocks. SF-101/PA/SPB Table Edge

W 47 1/4 in W 120 cm

L 47 1/4 in H 16 1/8 in L 120 cm H 41 cm

4 3/8 in 11 cm

Materials : Parchment, Reclaimed Wood

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Mighty Table | Cast Bronze Shagreen A monumental bronze block sits on four mighty legs in reclaimed wood. The legs can sit at the outer edges or stand inset in the centre. The bronze top is cast from stingray skin and has been finished with a deep flax gold patina, creating a mesmerising beaded texture. SF-492

W 47 1/4 in W 120 cm

Table Edge

4 3/8 in 11 cm

L 47 1/4 in H 16 1/8 in L 120 cm H 41 cm

Materials : Bronze, Reclaimed Wood

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Mighty Table | Natural Shagreen Natural Chocolate Shagreen envelops the mighty table top that sits on reclaimed wood legs. The legs can sit at the outer edges or at the centre as inset legs. SF-101/SH/NC

W 47 1/4 in W 120 cm

Table Edge

4 3/8 in 11 cm

L 47 1/4 in H 16 1/8 in L 120 cm H 41 cm

Materials : Shagreen, Reclaimed Wood

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Angle Coffee Table Cast bronze legs support a field of shagreen, here shown in Natural Chocolate tone. SF-100/SH/NC

W 35 7/8 in W 91 cm

Table Edge

3 7/8 in 10 cm

L 59 1/2 in L 151 cm

Materials : Shagreen, Bronze

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H 14 5/8 in H 37 cm


Fillo Long Table Inspired by Monet’s mirror pond, water-lillies float on meandering stems. The cast bronze is richly patinated in dark tones. These tables present beautifully in a group. BR-566/BBB

W 24 in W 61 cm

L 47 1/4 in L 120 cm

H 17 1/8 in H 43.5 cm

Material : Bronze

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Structure Table Surfaces of Natural Chocolate shagreen reach for one another but don’t quite touch. The pattern of empty spaces that they create is elegantly supported by a bronzed panel. PH-015/SH/NC

W 23 5/8 in W 60 cm

Table Edge

1 5/8 in 4 cm

L 39 3/8 in L 100 cm

Materials : Shagreen, Bronze

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H 17 3/4 in H 45 cm


Plain Table | Parchment The Plain Table is a simple side table using my materials and accented with bronze feet and risers. This table is shown in raw parchment. SF-554/PA/W

W 16 7/8 in W 43 cm

Table Edge

1 3/4 in 4.5 cm

L 28 3/4 in L 73 cm

Materials : Parchment, Bronze

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H 24 3/8 in H 62 cm


Plain Table | Shagreen The Plain Table is shown here in ivory coloured ‘Natural Speckle Shagreen’. Bronze feet and risers provide accents to the simple lines of this piece. SF-554/SH/NS

W 16 7/8 in W 43 cm

Table Edge

1 3/4 in 4.5 cm

L 28 3/4 in L 73 cm

Materials : Shagreen, Bronze

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H 24 3/8 in H 62 cm


Plain Table | Straw Marquetry The linear pattern of the Bronze Straw finish accentuates the ‘X’ shape of this classic table which has bronze feet and risers. SF-554/SW/BLS

W 16 7/8 in W 43 cm

Table Edge

1 3/4 in 4.5 cm

L 28 3/4 in L 73 cm

Materials : Straw Marquetry, Bronze

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H 24 3/8 in H 62 cm


Alexandria Salon Table The bronze base supporting the hexagonal lacquered legs lends an architectural aspect to this table. The bronze table top is cast from the beaded texture of stingray skin and finished with a rich antiqued patina. SF-199

W 17 7/8 in W 45.5 cm

L 23 in L 58.5 cm

H 22 in H 56 cm

Materials : Bronze, Wood

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Amaranth Lamp Table | Lacquered Straw The top of this table is covered with concentric rings of straw marquetry that have been lacquered to bring a gorgeous translucent red tone and the wonderful durability of cured natural lacquer. The ripple effect of the lacquer on top of straw marquetry resonates of water in its reflective quality. Raised on faceted bronze legs. Beneath is a walnut veneer and artist’s signature in bone. SF-507/SW/RL/RSB

Dia 27 1/2 in H 27 3/8 in Dia 70 cm H 69.5 cm

Table Edge

1 5/8 in 4 cm

Materials : Straw marquetry, Gesso, Natural Lacquer, Cashew Pigment, Bronze, Walnut Veneer 31

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Amaranth Lamp Table | Cracked lacquer The table surface has been covered with gesso that has been lacquered, cracked and polished to form a surface of irregular squares that create a deep and lustrous monochrome texture. Raised on faceted bronze legs. Beneath is a walnut veneer and artist’s signature in bone. SF-507/GS/BL/BW

Dia 27 1/2 in H 27 3/8 in Dia 70 cm H 69.5 cm

Table Edge

1 5/8 in 4 cm

Materials : Gesso, Lacquer, Bronze, Walnut Veneer

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Amaranth Lamp Table | Antique Ivory Tusk I sculpted the base in wax many times searching for an elegant way to offset legs and arms. The table top is my recreation of an antique, cracked ivory surface made using gesso, engraving and burnishing skills. SF-507/LA/AIT

Dia 27 1/2 in H 27 3/8 in Dia 70 cm H 69.5 cm

Table Edge

1 5/8 in 4 cm

Materials : Bronze, Gesso, Walnut Veneer

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Amaranth Lamp Table | Gilded Glass This piece has a tempered glass top with gilded edge. The legs and arms are cast in bronze and patinated to a dark finish. SF-507/GL

Dia 27 1/2 in H 26 5/8 in Dia 70 cm H 67.5 cm

Table Edge

3/4 in

1.9 cm

Materials : Bronze, Tempered Glass, Gold Leaf

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Amaranth Lamp Table | Pure Gold Shagreen The table top of this piece is enveloped in shagreen that has been gilded with pure gold leaf creating a textured iridescence. This finish was developed in our workshops. The extending feet were inspired by the Chinese ‘leopard foot’ tables. SF-507/SH/G

Dia 27 1/2 in H 27 3/8 in Dia 70 cm H 69.5 cm

Table Edge

1 5/8 in 4 cm

Materials : Bronze, Shagreen, Gold Leaf, Walnut Veneer

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Vespers Low Table | Antique Ivory Tusk Inspired by jewellery the Vespers Low Table rises on textured cast bronze legs. The table top is finished in our signature Antique Ivory Tusk recreated from crackled gesso. It exudes a wonderful sense of age through the hand applied craquelure. SF-508/LA/AIT

W 20 1/2 in W 52 cm

Table Edge

2 3/8 in 6 cm

L 23 5/8 in L 60 cm

Materials : Bronze, Gesso

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H 18 1/4 in H 46.5 cm


Vespers Low Table | Calligrapher’s Lacquer The table top is finished in our Calligraphers Lacquer: five layers of lustrous deep red vegetal lacquer covered with pure gold leaf and rubbed back. Inspired by the structure of the stone setting in a ring, the table top rises on textured bronze legs. SF-508/LA/CLP

W 20 1/2 in W 52 cm

Table Edge

2 3/8 in 6 cm

L 23 5/8 in L 60 cm

Materials : Bronze, Natural Lacquer, Gold Leaf

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H 18 1/4 in H 46.5 cm


Brancusi Spiral Table Inspired by the famous sculptor’s work, this side table in darkly patinated bronze has clean elegant lines and a smooth spiral top surface. BR-097/B

Dia 19 5/8 in Dia 50 cm

H 21 7/8 in H 55.5 cm

Material : Bronze

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1. Bague Spot Table 2. Bague Stand Table | Shagreen The structure of the tables was inspired by a 17th century ring. A large shagreen skin is inlaid into each of the gently ovaled bronze tops while the underside is parchment. The bases are cast bronze. 1. SF-521/SH/RIV 2. SF-520/SH/RIV

W W W W

12 5/8 in 32 cm 12 5/8 in 32 cm

L L L L

14 5/8 in 37 cm 14 5/8 in 37 cm

H H H H

13 3/4 in 35 cm 26 1/8 in 66.5 cm

Materials : Bronze, Shagreen

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1. Bague Spot Table 2. Bague Stand Table | Gold Sand I used an 18th century technique for gilding sand on the inset surfaces of these side tables. The bases are cast bronze. The proportions of the Bague Spot lends it a ‘jewel-like’ quality while the Bague Stand exudes a serene classical pose. 1. SF-521/LA/GS W 12 1/2 in W 32 cm 2. SF-520/LA/GS W 12 1/2 in W 32 cm Materials : Bronze, Gilded Sand

L L L L

14 1/2 in H 37 cm H 14 1/2 in H 37 cm H

13 3/4 in 35 cm 26 in 66.5 cm

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Block Arm Table An elegant side table between or aside seating. Bronze with a butchers block top surface. PH-010

W 9 5/8 in W 24.5 cm

Table Edge

3/4 in

L 31 1/8 in L 79 cm

H 26 3/8 in H 67 cm

1.8 cm

Material : Bronze

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Branch Side Table Square A solid shagreen covered block is supported by architectural cast bronze legs. SF-094/SH/V

W 18 1/8 in W 46 cm

Table Edge

2 3/4 in 7 cm

L 18 1/8 in L 46 cm

Materials : Shagreen, Bronze

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H 18 1/8 in H 46 cm


Branch Side Table Round Shagreen is inlaid in a sun dial pattern over a solid round block. The top of this small side table is raised on architectural cast bronze legs. SF-095/SH/NC

Dia 19 1/4 in Dia 49 cm

Table Edge

3 in 7.5 cm

H 18 1/4 in H 46.5 cm

Materials : Shagreen, Bronze

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Mahjong Block Accent Table Sculpted cast bronze legs support a formidable block inlaid with shagreen. The underside is finished in a beautiful walnut veneer. The form was inspired by antique Chinese games tables. SF-097/SH/NC

H 14 3/8 in W 17 1/2 in L 17 1/2 in W 44.5 cm L 44.5 cm H 36.5 cm

Materials : Shagreen, Bronze

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Tree Table A small accent table or drinks stand with bronze foot, lacquered rosewood stem and shagreen covered table top. SH-266/IV

Dia 16 7/8 in H 23 1/4 in Dia 43 cm H 59 cm

Table Edge

2 1/8 in 5.5 cm

Materials : Shagreen, Bronze, Wood, Lacquer

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Kertas Console | Shagreen A console table that was inspired by the idea of paper and sharp folds. The folded lines enter the volume of the console giving rise to striking angles, corners and light. This console is shown with shagreen skins in their raw natural colour. SF-555/SH/ND

W 15 3/4 in W 40 cm

Table Edge

3 7/8 in 10 cm

L 55 1/8 in L 140 cm

Material : Shagreen

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H 31 3/4 in H 80.5 cm


Kertas Console | Straw Marquetry Straw Marquetry in repeating sunburst squares form a kaleidescope pattern across the table’s surfaces. The form of the table was inspired by the idea of paper and sharp folds. SF-555/SW

W 15 3/4 in W 40 cm

Table Edge

3 7/8 in 10 cm

L 55 1/8 in L 140 cm

H 31 3/4 in H 80.5 cm

Material : Straw Marquetry See Material Swatches on page 176 for colour options 63

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Facet Console | Shagreen The Facet Console was born from the idea of a table made from paper and the strength and architecture created by tapering lines and folds. This table is shown in Natural Speckle Shagreen. The feet are bronze. SF-559/SH/NS

W 14 1/8 in W 36 cm

Table Edge

1 1/8 in 3 cm

L 45 1/4 in L 115 cm

Materials : Shagreen, Bronze

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H 33 1/8 in H 84 cm


Facet Console | Straw Marquetry The Facet Console is inlaid with linear Bronze Straw creating richly patterned and reflective surfaces. The form was born from the idea of a table made from paper and the strength and architecture created by tapering lines and folds. The feet are bronze. SF-559/SW/BLS

W 14 1/8 in W 36 cm

Table Edge

1 1/8 in 3 cm

L 45 1/4 in L 115 cm

Materials : Straw Marquetry, Bronze

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H 33 1/8 in H 84 cm


Vespers Console Six strongly textured bronze legs clasp a table top finished with inverted eggshells inlaid in a linear patten. Layers of dark red natural lacquer pool and set in the dips and spaces between the eggshells completing the piece. The underside is also finished in dark red natural lacquer. SF-509/LA/IVES

W 15 3/8 in W 39 cm

Table Edge

2 in 5 cm

L 50 3/4 in L 129 cm

Materials : Bronze, Eggshell, Natural Lacquer

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70

H 33 1/4 in H 84.5 cm


Fougere Dining Table I wanted to create a dining table finished in lustrous Calligrapher’s Lacquer - five layers of deep red vegetal lacquer covered with pure gold and rubbed back. My first idea for the base was elephant tusks. The tusks became leaves as I worked with the wax model and the ergonomics of a dining table. The leaves gave shape to a table that has an air of fin de siècle Europe. SF-355

W 43 1/4 in W 110 cm

Table Edge

2 in 5 cm

L 70 7/8 in L 180 cm

H 28 3/8 in H 72 cm

Materials : Bronze, Natural Lacquer, Gold Leaf 71

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Ocean Armoire A tall, thin cabinet in parchment and bronze. I wanted the octopus to emerge from the depths through a forest of light-scattered coral beneath the ocean. To achieve this effect I developed a way to apply coral patterns onto the dark parchment while retaining the natural organic quality of the goatskins. Bronze feet and interior lined with ivory parchment. SF-533/PA/DC

W 16 7/8 in W 43 cm

L 27 1/2 in L 70 cm

Materials : Parchment, Bronze, Ivory Parchment

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H 72 7/8 in H 185 cm


Ocean Armoire Inspired by the idea of light beneath the ocean, coral patterns have been applied onto the parchment that envelops the exterior of the cabinet. The dark bronze octopus and feet contrast with the dramatically varied tone of the skins and the interior is lined with ivory parchment. SF-532/PA/RC

W 16 7/8 in W 43 cm

L 27 1/2 in L 70 cm

Materials : Parchment, Bronze, Ivory Parchment

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H 72 7/8 in H 185 cm


River Ledge Credenza A credenza raised on eight tapered bronze legs and topped with a slab of textured bronze. Natural Chocolate Shagreen has been inlaid in a meandering pattern. Hardware is custom-made for the piece. SF-536/SH/NC

W 18 1/2 in W 47 cm

L 59 in L 150 cm

Materials : Shagreen, Bronze, Parchment

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H 35 5/8 in H 90.5 cm


Jermyn Bar Cabinet An important bar cabinet inspired by the Art Deco period. Each surface is inlaid with straw marquetry dyed to our signature Beechwood tone. The frame uses wenge and the feet and hardware are made from bronze. The top drop-door houses an antique mirror surface. The top interior and the cabinet shelves are lined with parchment. SF-678/SW/BIRS

W 17 3/4 in W 45 cm

L 35 3/8 in L 90 cm

H 53 7/8 in H 137 cm

Materials : Straw Marquetry, Parchment, Bronze, Wenge, Antique Mirror

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Reel Stool There is an industrial sensuousness to this stool; something between a roller and a corset. The tiny panels of shagreen give a sense of movement and pattern that is topped and bottomed with rich slabs of softly bulbous cast aluminium. SF-738/SH ALU/NC P

Dia 15 3/4 in H 17 3/4 in Dia 40 cm H 45 cm

Materials : Shagreen, Aluminium

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Grove Stool Part horse-hoof, part bamboo stem, the bronze base of this stool provides a broad comfortable seat. The legs are supported by delicate bamboo spandrels. The top cushion has been upholstered in charcoal velvet. SF-368

W 17 3/8 in W 44 cm

L 35 3/8 in L 90 cm

H 18 1/2 in H 47 cm

Materials : Bronze, Velvet

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Fan Tabouret Fan corals are whispy, shimmering natural forms. We used the lines of coral to create a light bronze stool that is comfortable to sit on and striking to behold. SF-382/G

W 11 3/4 in W 30 cm

L 19 5/8 in L 50 cm

H 17 3/4 in H 45 cm

Materials : Bronze, Velvet

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Japan Block Stool Cast bronze block with honed surface and corners. BR-239/B

W 13 3/4 in W 35 cm

L 13 3/4 in L 35 cm

H 17 1/2 in H 44.5 cm

Material : Bronze

87

88


Fillo Mirror | Gold Inspired by Monet’s mirror pond, cast aluminium water-lillies are assembled and gilded in various degrees of patination. Oxidized lillies float on the surface of the mirror. The piece has a delicate, Art Nouveau aspect. M-1191/AL/G

L 49 in TH 1 1/8 in W 41 1/2 in W 105.5 cm L 124.5 cm TH 3 cm

Materials : Aluminium, Gold Leaf, Antique Mirror

89

90


Fillo Mirror | Bronze Water-lillies are cast in bronze and patinated in rich earth tones. The piece is reminiscent of Monet’s lily pond with the oxidized lillies floating on the surface of the antique mirror. M-1191/BR/FB

L 49 in TH 1 1/8 in W 41 1/2 in W 105.5 cm L 124.5 cm TH 3 cm

Materials : Bronze, Antique Mirror

91

92


Magnificat Mirror Inspired by an early twentieth century bracelet, fifty formed pieces are made in gesso and lacquered with rich, red natural lacquer. The lacquer is covered with pure gold leaf and rubbed back. The concave faces of each section are inlaid with natural straw giving a subtle reflective counter-balance to the gold leaf. M-1202

Dia 55 1/8 in Dia 140 cm

TH 3 in TH 7.5 cm

Materials : Natural Lacquer, Gold Leaf, Straw Marquetry, Mirror

93

94


Demi-Monde Floor Lamp The Demi-Monde floor lamp is raised on a cast bronze base that elegantly flushes with a tapering column of natural ivory shagreen split by an inset bronze channel. The top gracefully curves up to a double-head bulb, linen shade and bronze finial. Dia 19 5/8 in Dia 50 cm Dia 19 5/8 in Dia 50 cm W 7 7/8 in W 20 cm

LG-271 Overall size (including shade) Shade size Base size (floor to top of base) Materials : Shagreen, Bronze 95

96

H 60 1/2 in H 153.5 cm H 15 3/4 in H 40 cm L 13 5/8 in L 34.5 cm

H 47 1/2 in H 120.5 cm


Moulin Floor Lamp Inspired by the idea of building a pillar of stacked irregular objects that are curved on every surface; an impossible task. The play of movement, balance, tension and texture creates a sculptural yet whimsical floor lamp. A single gilded disc adorns the centre. The shade is linen. LG-182/G Overall size (including shade) Shade size Base size (floor to top of base)

Dia Dia Dia Dia Dia Dia

Materials : Bronze, Gold Leaf, Linen Shade 97

98

28 73 28 71 13 35

3/4 in

H cm H in H cm H 3/4 in H cm H

72 1/4 in 183.5 cm 19 5/8 in 50 cm 52 1/8 in 132.5 cm


Dorian Floor Lamp Raised on three delicate feet, this cast bronze floor lamp has sinuous tapering lines that open slightly at the top. The finial is similarly tripoidal. LG-221 Overall size (including shade) Shade size Base size (floor to top of base) Materials : Bronze, Linen Shade

99

100

Dia Dia Dia Dia Dia Dia

19 5/8 in 50 cm 19 5/8 in 50 cm 18 1/2 in 47 cm

H H H H H H

64 3/4 in 164.5 cm 11 3/4 in 30 cm 51 5/8 in 131 cm


Branch Floor Lamp Thin undulating lost wax bronze creates a delicate and natural floor lighting element. The stem is finished in a richly dark patina and the shade is linen. LG-084 Overall size (including shade) Shade size Base size (floor to top of base) Materials : Bronze, Linen Shade

101

102

Dia Dia Dia Dia Dia Dia

19 5/8 in 50 cm 19 5/8 in 50 cm 9 7/8 in 25 cm

H H H H H H

65 1/8 in 165.5 cm 11 3/4 in 30 cm 51 5/8 in 131.5 cm


Nicko Lamp A simple, highly sculptural lost wax bronze floor lamp with resonances of Giacometti’s shadow sculptures. LG-025/BR Overall size (including shade) Shade size Base size (floor to top of base) Materials : Bronze, Linen Shade

103

104

Dia 19 5/8 in Dia 50 cm Dia 19 5/8 in Dia 50 cm W 11 in W 28 cm

H 57 1/2 in H 146 cm H 11 3/4 in H 30 cm L 11 in H 44 7/8 in L 28 cm H 114 cm


Bella Figura Lamp Inspired by the female form this gently textured floor lamp is made from lost wax bronze and finished in a rich dark patina. LG-030 Overall size (including shade) Shade size Base size (floor to top of base) Materials : Bronze, Linen Shade

105

106

Dia Dia Dia Dia Dia Dia

19 5/8 in 50 cm 19 5/8 in 50 cm 8 1/4 in 21 cm

H H H H H H

57 7/8 in 147 cm 11 3/4 in 30 cm 46 1/8 in 117 cm


Liana Floor Lamp The Liana Floor Lamp has a curving, whimsical and organic form cast in bronze and finished in a textured, dark patina. Shades clip directly onto the light bulbs and can be adjusted to change the direction and pattern of the light. PH-004

Dia 30 1/8 in H 61 1/4 in Dia 76.5 cm H 155.5 cm

Materials : Bronze, Linen Shades

107

108


Lithe Uplight The form of the Lithe Uplight is feminine and slender; the bronze finish has a mottled texture. The interior cup is edged with gold leaf. LG-131

Dia 11 1/4 in H 69 1/8 in Dia 28.5 cm H 175.5 cm

Materials : Bronze, Gold Leaf interior trim

109

110


Carapace Uplight Monumental uplights in sculpted cast bronze. LG-045/BR/B

Dia 11 in Dia 28 cm

H 72 in H 183 cm

Materials : Bronze, Gold Leaf interior trim

111

112


Inlet Table Lamp | Straw Marquetry The elliptical shade floats above a sunburst oval of straw marquetry that catches and reflects the light from the double-head bulbs. The tapering structure is cast in bronze and finished in a dark patina. LG-294/SW/BIRSB Overall size (including shade) W W Shade size W W Base size (floor to top of base) W W Materials : Bronze, Straw marquetry, Linen Shade

113

114

11 3/8 in 29 cm 11 3/8 in 29 cm 9 in 23 cm

L L L L L L

17 1/2 in 44.5 cm 17 1/8 in 43.5 cm 17 1/2 in 44.5 cm

H H H H H H

19 1/4 in 49 cm 10 5/8 in 27 cm 9 7/8 in 25 cm


Inlet Table Lamp | Shagreen A cast bronze structure supports the oval linen shade and tray base below in natural ivory shagreen. The pearly beads of the shagreen are beautifully lit by the double-head bulbs above. LG-294/SH/NS Overall size (including shade) W W Shade size W W Base size (floor to top of base) W W Materials : Bronze, Shagreen, Linen Shade

115

116

11 3/8 in 29 cm 11 3/8 in 29 cm 9 in 23 cm

L L L L L L

17 1/2 in 44.5 cm 17 1/8 in 43.5 cm 17 1/2 in 44.5 cm

H H H H H H

19 1/4 in 49 cm 10 5/8 in 27 cm 9 7/8 in 25 cm


Cornice Table Lamp A monumental granite rock has been roughly chiseled and then gilded to bring the light of pure gold to the textures that happen as the stone is broken. No two pieces are the same. LG-290/ST/G Overall size (including shade) Shade size Base size (floor to top of base) Materials : Granite, Lacquer, Gold Leaf, Linen Shade

117

118

Dia 16 1/8 in Dia 41 cm Dia 16 1/8 in Dia 41 cm W 8 5/8 in W 22 cm

H 20 7/8 in H 53 cm H 10 in H 25.5 cm L 8 5/8 in L 22 cm

H 17 3/4 in H 45 cm


Canister Table Lamp Large ivory shagreen skins wrap this lamp base along its curved spines, exposing the delicious nature of the material in a modern form that is split along a dark cast bronze void. LG-211/SH/NS Overall size (including shade) Shade size Base size (floor to top of base) Materials : Shagreen, Bronze, Linen Shade

119

120

Dia Dia Dia Dia Dia Dia

19 5/8 in 50 cm 19 5/8 in 50 cm 6 3/4 in 17 cm

H H H H H H

29 7/8 in 76 cm 113/4 in 30 cm 18 1/2 in 47 cm


Inhale Table Lamp | Shagreen This lamp appears to hold its breath in a gentle inhale at the waist. Finished in beautifully textured Natural Chocolate Shagreen with bronze cap and base. LG-054/SH/NC Overall size (including shade) Shade size Base size (floor to top of base) Materials : Shagreen, Bronze, Linen Shade

121

122

Dia Dia Dia Dia Dia Dia

19 5/8 in 50 cm 19 5/8 in 50 cm 6 3/4 in 17 cm

H H H H H H

31 7/8 in 81 cm 113/4 in 30 cm 19 1/4 in 49 cm


Inhale Table Lamp | Straw Marquetry The gently inhaling waist of this table lamp is inlaid with reflective, Straw Marquetry. Base and top are patinated cast bronze. LG-053/SW Overall size (including shade) Shade size Base size (floor to top of base) Materials : Straw Marquetry, Bronze, Linen Shade See Material Swatches on page 176 for colour options 123

124

Dia Dia Dia Dia Dia Dia

19 5/8 in 50 cm 19 5/8 in 50 cm 6 3/4 in 17 cm

H H H H H H

31 7/8 in 81 cm 11 3/4 in 30 cm 19 1/4 in 49 cm


Globe Table Lamp Simple and luxurious a perfect sphere of shagreen here shown in Natural Speckle sits on a square bronze base and is lit from above. LG-056/SH/NS Overall size (including shade) Shade size Base size (floor to top of base) Materials : Shagreen, Bronze, Linen Shade

125

126

Dia Dia Dia Dia Dia Dia

16 1/8 in 41 cm 16 1/8 in 41 cm 10 1/4 in 26 cm

H H H H H H

19 1/2 in 49.5 cm 9 7/8 in 25 cm 9 7/8 in 25 cm


Quilted Table Lamp The texture on this lamp was inspired by an antique ring. The soft warmth of the bronze and the quilted effect create a beautifully reflective surface. LG-104 Overall size (including shade) Shade size Base size (floor to top of base) Materials : Bronze, Linen Shade

127

128

Dia Dia Dia Dia Dia Dia

18 1/8 in 46 cm 18 1/8 in 46 cm 5 7/8 in 15 cm

H H H H H H

26 3/4 in 68 cm 11 5/8 in 29.5 cm 14 3/4 in 37.5 cm


Rive Table Lamp The Rive Lamp with its ‘jackfruit’ beads allures the eyes and hands. The dense texture cast in bronze and richly patinated by hand, covers the surface. The base and cap are in smooth cast bronze. LG-113 Overall size (including shade) Shade size Base size (floor to top of base) Materials : Bronze, Linen Shade

129

130

Dia Dia Dia Dia Dia Dia

17 3/8 in 44 cm 17 3/8 in 44 cm 5 3/4 in 14.5 cm

H H H H H H

32 5/8 in 83 cm 11 3/4 in 30 cm 20 1/2 in 52 cm


Shagreen Stem Table Lamp The simple elegance of bronze paired with shagreen lined with gold. The thin shade is composed of three shagreen skins, and lined inside with pure gold leaf so that this small table lamp produces a warm golden glow. LG-047 Overall size (including shade) Shade size Base size (floor to top of base) Materials : Bronze, Shagreen Shade, Gold Leaf 131

132

W 5 1/2 in W 14 cm Dia 5 1/2 in Dia 14 cm W 5 1/2 in W 14 cm

L 5 1/2 in L 14 cm H 5 1/2 in H 14 cm L 51/2 in L 14 cm

H 25 5/8 in H 65 cm H 20 5/8 in H 52.5 cm


Drop Lamp Sister to the Bella Figura floor lamp, the undulating form of this table lamp is cast in bronze finished in a hammered texture. LG-028 Overall size (including shade) Shade size Base size (floor to top of base) Materials : Bronze, Linen Shade

133

134

Dia Dia Dia Dia Dia Dia

18 1/8 in 46 cm 18 1/8 in 46 cm 5 3/8 in 13.5 cm

H H H H H H

33 1/2 in 85 cm 11 5/8 in 29.5 cm 22 1/2 in 57 cm


Fondre Table Lamp | Calligraphers Lacquer The stem of the lamp is made with ‘Calligrapher’s Lacquer’ - five layers of red vegetal lacquer covered with pure gold leaf and rubbed back. The smooth bronze base supports the outline of a Japanese temple candle. The parchment shade follows the contour. LG-222/LA/CLP Overall size (including shade) Shade size Base size (floor to top of base)

Dia Dia Dia Dia Dia Dia

8 1/8 in 20.5 cm 8 1/8 in 20.5 cm 7 1/4 in 18.5 cm

Materials : Natural Lacquer, Gold Leaf, Bronze, Faux Parchment Shade 135

136

H H H H H H

21 1/2 in 54.5 cm 8 1/8 in 20.5 cm 11 5/8 in 29.5 cm


Fondre Table Lamp | Opium Lacquer Shagreen Red The form is inspired by a Japanese temple candle. The stem is made from ‘Opium Lacquer’ - ivory shagreen covered with five layers of red natural lacquer. Finished with a smooth bronze base and a parchment shade. LG-222/SH/OLR Overall size (including shade) Shade size Base size (floor to top of base)

Dia Dia Dia Dia Dia Dia

8 1/8 in 20.5 cm 8 1/8 in 20.5 cm 7 1/4 in 18.5 cm

Materials : Natural Lacquer, Shagreen, Bronze, Faux Parchment Shade 137

138

H H H H H H

21 1/2 in 54.5 cm 8 1/8 in 20.5 cm 11 5/8 in 29.5 cm


Geo Table Lamp The Geo Table Lamp has an ivory parchment column with natural chocolate shagreen shade lined with pure gold leaf and supported by bronze arms. The simple geometric shapes of the lamp are enhanced by the myriad beads of the shagreen and the warm glow of the reflective gold leaf. Four sockets hold up to 40W bulbs. PH-001 Overall size (including shade) Shade size Base size (floor to top of base)

Dia 24 3/4 in Dia 63 cm Dia 24 in Dia 61 cm W 24 3/4 in W 63 cm

Materials : Parchment, Bronze, Shagreen Shade, Gold Leaf 139

140

H 19 5/8 in H 50 cm H 5 3/8 in H 13.5 cm L 24 3/4 in L 63 cm

H 19 5/8 in H 50 cm


Ruche Lantern A deeply gouged lost-wax bronze lantern creates a sculptural drama of light, texture and shadow. LG-186

W 8 1/8 in L 8 1/8 in W 20.5 cm L 20.5 cm

H 12 3/4 in H 32.5 cm

Materials : Bronze, Linen Shade

141

142


Woven Orb Lanterns Woven copper lanterns based on Balinese cock-fighting baskets. The copper will slowly patinate and become darker, whether indoors or out. 1. IA-071 Dia 15 3/8 in Dia 39 cm 2. IA-070 Dia 19 5/8 in Dia 50 cm Materials : Copper, Fibre-glass

H H H H

21 7/8 in 55.5 cm 30 1/2 in 77.5 cm

Dome

1

143

144

2


Cicada Lanterns Octagonal candle lanterns made from blown Peking glass, also known as Jade-cut glass due to the finishing process that uses the traditional jade grinding technique. The base and top are cast bronze with a dark patina. PG-027/W (Candle Light)

W 7 1/2 in L 7 1/2 in H 11 in W 19 cm L 19 cm H 28 cm

Materials : Bronze, Jade-cut Glass

145

146


Cicada Lanterns - Electrified White jade-cut Peking Glass lends a beautiful opaqueness to the light emanating from these lanterns. A dimmer controls the brightness and the octagonal top and base are cast in bronze with a dark patina. LG-108 (Electrified)

W 7 1/2 in L 7 1/2 in W 19 cm L 19 cm

Materials : Bronze, Jade-cut Glass

147

148

H 15 in H 38 cm


Marquis Sconce A shield of bronze that mirrors the marquis diamond cut. With a richly sculpted texture in bronze, the sconce creates shafts of light emanating in lines and points. LG-144

W 4 3/4 in W 12 cm

D 7 1/4 in D 18.5 cm

H 20 5/8 in H 52.5 cm

Material : Bronze

149

150


Hourglass Sconce Bronze with gold interior. The light is emitted from behind an inner droplet that ebbs into the lower space. LG-310/BR/BBB G

W 8 in W 20.5 cm

D 4 in D 10 cm

Materials : Bronze, Gold leaf

151

152

H 17 1/8 in H 43.5 cm


Lacuna Sconce A slice of light emanating from within. The tall carapace floats forward on arms that lift it from the gilded circle. A cicada in bronze and gold split by a lacuna - or void. LG-309/BR/B G

W 9 5/8 in W 24.5 cm

D 4 3/8 in D 11 cm

Materials : Bronze, Gold Leaf

153

154

H 16 1/8 in H 41 cm


Archer Sconce A rich sculpted bronze plate clasps an elegant stem that supports a shagreen shade lined with handapplied pure gold leaf. LG-288/BR/BBB Overall size (including shade) W 5 3/4 in W 14.5 cm Shade size Dia 5 1/2 in Dia 14 cm Base size (floor to top of base) W 5 3/4 in W 14.5 cm Materials : Bronze, Gold leaf, Shagreen

155

156

D 8 in D 20.5 cm H 5 1/2 in H 14 cm D 7 1/4 in D 18.5 cm

H 25 3/8 in H 64.5 cm H 20 1/2 in H 52 cm


Folly Sconce A teak leaf is cast in lost wax bronze and finished in pure gold leaf to create a natural reflective surface. The intense colour of the gilding will fade over time to a soft, antique patina. The sconce is electrified for a 20W halogen bulb. LG-130/G

W 10 5/8 in W 27 cm

D 3 7/8 in D 10 cm

H 23 1/4 in H 59 cm

Materials : Bronze, Gold Leaf

157

158


Labellum Wall Sconce A powerful bronze orchid propagated to live on a wall and emit light and form; wrapped in its petals and delicate folds the Labellum Wall Sconce is a unique piece inspired by the beauty and architecture of rare orchids. It contains an interior of pure gold leaf. LG-272

W 15 1/2 in W 39.5 cm

D 11 in D 28 cm

H 28 in H 71 cm

Materials : Bronze, Gold Leaf

159

160


Folly Gesso Ceiling Light Teak leaves overlapping in crisp plaster are suspended by a gilded brass chain. The Ceiling Light contains sockets for 5 bulbs of up to 40W each. LG-135

Dia 23 5/8 in H 35 7/8 in Dia 60 cm H 91 cm

Materials : Plaster, Brass, Gold Leaf

161

162


Lustre Stones The Lustre Stones are profound, smooth, organic forms. River stones from Burma have been coated with multiple layers of vegetal lacquer and polished to a reflective gleam. LA -184

Dia 11 3/4 in - 14 1/8 in (Dia 30 cm - 36 cm) Dia 15 in - 16 1/8 in (Dia 38 cm - 41 cm) Dia 16 7/8 in - 29 1/8 in (Dia 43 cm - 74 cm)

Materials : Natural River Stones, Natural Lacquer

163

164


Flash Discs A dramatic linear sunburst pattern is cast in bronze and patinated to a rich, earthy tone that will age beautifully. The Flash Disc is made in two sizes and we can advise on arrangements for the wall. 1. BR-235 Dia Dia 2. BR-196 Dia Dia Material : Bronze

31 1/2 in 80 cm 51 1/8 in 130 cm

1

165

166

2


Hide Disc Inspired by the hide leather shields of East Africa, this monumental disc is carefully modelled to show the texture of hide and cast in bronze. The disc is finished in a rough, dark patina. BR-277

Dia 40 1/8 in Dia 102 cm

Material : Bronze

167

168


Bronze Giant Leaves Large tropical leaves have been cast in bronze bringing lightness to the metal, and weight to the form of the leaves. The textured, reflective surface creates a dappled play of light. The two sizes placed side by side create a perfect pair. 1. BR-455/AB 2. BR-454/AB

W W W W

13 3/4 in 35 cm 18 1/8 in 46 cm

H H H H

86 5/8 in 220 cm 100 3/8 in 255 cm

Material : Bronze 1

169

170

2


Bubbles These tactile rounded forms in polished aluminium sit comfortably in the hand and are cool and smooth to the touch. They come in four sizes. We can advise on arrangements for the wall. 1. M-0956/SB W 3 3/8 in W 8.5 cm 2. M-0957/SB W 4 1/8 in W 10.5 cm 3. M-0958/SB W 4 3/4 in W 12 cm 4. M-0959/SB W 5 3/8 in W 13.5 cm Material : Polished aluminium 171

L L L L L L L L

4 3/8 in 11 cm 5 3/8 in 13.5 cm 6 1/8 in 15.5 cm 6 3/4 in 17 cm

H H H H H H H H

1 3/4 in 4.5 cm 2 1/8 in 5.5 cm 2 3/8 in 6 cm 3 in 7.5 cm 1

172

2

3

4


Bronze Verta Sculptures Inspired by the drifted remains of giant sea mammals, these imposing sculptures are cast in bronze and supported by a steel stand. 1. BR-360 2. BR-361 3. BR-358 4. BR-359

W W W W W W W W

13 in 33 cm 9 in 23 cm 18 1/2 in 47 cm 15 3/4 in 40 cm

L L L L L L L L

27 70 17 44 32 82 29 74

1/2 in

cm 3/8 in cm 1/4 in cm 1/8 in cm

H H H H H H H H

44 7/8 in 114 cm 50 3/8 in 128 cm 58 1/8 in 147.5 cm 67 1/8 in 170.5 cm 1

Materials : Bronze, Steel Stands 173

174

2

3

4


Straw Marquetry

Shagreen Natural Speckle

Ivory Shagreen

Slate Grey

Verdigris

Pure Gold Shagreen

Beechwood Straw

Bronze Straw

Ebony Straw

Ivory

Suji

Antique Ivory Tusk

Cracked lacquer

Imperial Yellow

Burnt Orange

Parchment

Natural Chocolate

Gesso

Gold Sand

Opium Lacquer Shagreen Red

Peking Glass

Lacquer Calligraphers Lacquer

Smoked Ivory Eggshell Red

175

Lacquered Straw

176

Amber


1. Bulb-holders

2. Flex Cords

We use two types of bulb-holders:

Our portable lamps come with either a rayon-wrapped (table lamps) or plastic (floor lamps) flex using two or three gauge flex depending on the country. 2 metres/ 78� of flex is fitted to each lamp.

E27 (Max 100 W) E14 (Max 40W)

3. Plugs

Rayon-wrapped Flex Plastic Flex 2 and 3 gauge 2 and 3 gauge

We provide the following plug types:

Type A - for North America and Japan

Types E and F - for countries in Europe, Eastern Europe, Scandinavia and North Africa

Type G - for UK, Ireland, Cyprus, Malta, Singapore, Hong Kong, Malaysia

Type I - for Australia, New Zealand, Argentina and Papua New Guinea

4. Lampshades

Our lamps use three types of lampshade depending on the design:

Alexander Lamont Lighting The Alexander Lamont lighting workshop is a UL approved wiring facility subject to regular inspection and control by the relevant UL authorities. All lamps undergo a testing process in line with UL regulations. For design or aesthetic reasons we also make lamps or use components that are not UL approved. We set out below the types of lighting and electrification elements we use in our lighting pieces.

177

Clip on These lampshades clip directly onto the light bulb

Arm rest These lampshades rest onto the arms of the table lamp

178

Finial These lampshades are supported by a screw-on finial


Alexander Lamont Product Care Our objects are made with great care and attention, using the highest quality materials. They will age beautifully when treated well and cared for properly. Set out in this section are guidelines for caring for our products arranged according to materials. A Care Guide can also be downloaded from our website. Alexander Lamont’s furniture, lighting and accessories characteristically combine more than one precious material each of which must be cared for in a particular way. If you have a table with bronze legs and a shagreen table-top then you will need to read about both bronze care and shagreen care in order to maintain your Alexander Lamont piece of furniture to the best possible standard. Our customer service department will be pleased to help you with any queries that you may have regarding the care of your Alexander Lamont piece. They can be contacted at enquiries@alexanderlamont.com and on telephone: + 66 2 587 0693 (Monday - Friday, 9am - 6pm, GMT +7 hours).

Shagreen, Parchment and Straw Marquetry 1. Usage

- For indoor use only - Prevent direct contact with extremes of heat, cold and moisture by using coasters, keeping plants inside drip-proof planters and serving foods on place mats and heatproof pads. - To prevent damage to the surface apply felt to lamp bases, vases, ashtrays and other accessories that are placed on these surfaces. - Set down items gently onto the surface. To retrieve items lift them off the surface - do not drag or slide them. - Remove any liquid spillage immediately! Alcohol and vinegars have strong acidic properties and also strong pigmentation. Coffee and tea stain easily and even water penetrates and can cause discolouration and lifting.

2. Environment

- Keep away from direct sunlight - Keep away from direct heat sources such as radiators, stoves, and avoid long use of laptops and other electronic devices on the surface. - Keep away from moisture - not for use in wet rooms. - Ensure the pieces do not encounter extremes of temperature and humidity as this may cause movement in the surface material and delamination. - Pieces should be kept within temperatures of 50°-75° Fahrenheit / 10°- 25° Celsius and within a Relative Humidity of 40 - 65%

3. Cleaning

- Gently dust with a soft, cotton cloth. - Wipe away any fluids that spill immediately. - Do not apply any foreign substance or cleaning agent to the surface.

4. Special Considerations Shagreen and parchment may show variations in colour, tone, and texture. Natural markings are an inevitable and beautiful characteristic of surfaces covered with these materials. If your shagreen, parchment or straw marquetry surface is intended to undergo heavy use or is likely to experience liquid spills, we recommend placing a glass cover over the surface.

179

Lacquer 1. Usage

- For indoor use only - Handle with care. Knocking against hard objects or coming into contact with sharp or hard objects can damage the surface. - To prevent damage always use coasters, and apply felt to lamp bases, vases, ashtrays and other accessories that are placed on the surface. - Always set down items gently onto the surface. To retrieve items lift them off the surface - do not slide them. - Not for use in wet rooms.

2. Environment

- Keep out of direct sunlight as this will cause the lacquer surface to lose its durability and may cause discolouration. - Keep away from direct heat sources such as radiators, stoves, and avoid long use of laptops and other electronic devices on the surface. - Do not submerge in water. - Ensure there are no extreme fluctuations in temperature and humidity as this may cause movement in the wood substrate and cause cracking of the lacquer surface. - Pieces should be kept within temperatures of 50°-75° Fahrenheit / 10°25° Celsius and within a Relative Humidity of 40 - 65%

3. Cleaning

- Gently dust with a soft, cotton cloth or clean with a slightly damp soft cloth - Wipe away any fluids that spill immediately. - Do not apply any foreign substance or cleaning agent to the surface. - Only if the lacquer surface has lost its sheen should one buff using a spare amount of high quality furniture wax. Apply strongly with a clean cloth wrapped around a finger and buff off with a wax free cloth.

4. Special Considerations It is advisable to get chips and damage repaired to avoid further problems with the lacquer separating from the substrate. Repair should only be done by a restorer experienced in working with natural lacquer.

Peking Glass 1. Cleaning

- Dust or buff with a clean, dry cloth or use professional glass cleaning materials - Peking Glass can be washed in warm soapy water if properly rinsed afterwards but it can be difficult to fully dry and clean away soap or water marks from inside the vases so clean with care. - Be careful not to chip against hard surfaces and do not use abrasive materials

2. Special Considerations Peking Glass is hand blown and then shaped and polished by Jade Cutters in the traditional method. As a result the facets and shape of our Peking Glass objects can be slightly irregular and in our view this irregularity forms part of the beauty and the unique character of each piece.

180


Gold and Silver Leaf - Gilding

Bronze

1. Usage

- For indoor use only - Gold and silver are extremely thin and must not be rubbed as any contact will be abrasive and leave a residue. - We do not recommend putting water inside our bowls as water contains chlorine and other residues that will dull the gold and may damage it. - Keep candles and tea lights inside a glass container on a felt mat to avoid wax dripping onto the gold or silver leaf. - Set down items gently onto the surface. To retrieve items lift them off the surface - do not slide them.

2. Environment

- Keep out of direct sunlight - Keep away from direct heat sources such as radiators, stoves, and avoid long use of laptops and other electronic devices on the surface. - Keep away from moisture - not for use in wet rooms.

3. Cleaning

- Blow away dust and then use a very soft dry cloth to gently brush away residue if necessary. - Do not apply any foreign substance or cleaning agent to the surface. - Do not rub or touch excessively and do not use any abrasive materials.

1. Usage 2. Environment 3. Cleaning

4. Special Considerations Gold tarnishes slightly over time while silver oxidizes faster. At Alexander Lamont we believe that tarnishing is a beautiful aspect of real gold and silver and that it should be regarded as part of the metal’s ageing and natural patination process.

- Our patinas are applied with fire and are highly durable. Nonetheless sharp or rough items will scratch and damage the patina. Take care to protect the patina from such objects. - Always use an inner container to hold water when displaying flowers in bronze vases. - Wipe off liquids quickly to avoid oxidization of the patina. - Salt air or rain water residues will cause the patina to change becoming blacker, more matte and possibly showing streaks in the patina. - If wax has been allowed to drip directly onto patinated bronze then carefully use very hot clean water to melt the wax and wash it away. It may not remove all traces and you may need to wipe gently with a moist cloth and then buff with a soft clean cloth. - Bronze is a durable material and can be kept in any climate whether indoors or outdoors (except bronze items that combine with any materials for indoor use only). - Note that bronze will oxidize over time becoming darker and losing its sheen. If bronze objects are kept outside this process will be far more rapid and rain or salt water residues may leave streaks in the patina. - Use a soft dry cloth to clean or buff the surface. - Do not apply any foreign substance or cleaning agent to the surface as this may damage the patina. - Bronze can be maintained with the application of wax but see special considerations below.

4. Special Considerations As part of our finishing process we apply various patinas to our brass and bronze products in order to achieve the desired colour and finish. After patination is complete we apply special bronze waxes to add lustre and protection to the surface and to ‘close’ the patina. This will rub off over time allowing the patina to slowly oxidize. At Alexander Lamont we believe that the natural oxidization process creates a beautifully evolving patina over time. Adding more wax risks creating a waxy layer on top of the patina. However if you wish to know more about bronze waxing please contact us for further information.

Gilded Sand 1. Usage

- For indoor use only - Set down items gently onto the surface. To retrieve items lift them off the surface - do not slide them. - Do not spill any liquids onto the surface - this will cause staining that is impossible to clean away.

2. Environment

- Keep out of direct sunlight - Keep away from direct heat sources such as radiators, stoves etc - Keep away from moisture - not for use in wet rooms.

3. Cleaning

- To remove dust use a vacuum cleaner on the lowest setting with a brush fitting and very lightly brush. - Do not apply any foreign substance or cleaning agent to the surface. - Do not use any abrasive materials.

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Lead Times Our production lead-times are generally 6-14 weeks for lighting and furniture, 4-8 weeks for accessory and 12-20 weeks for custom orders. We have a monthly list of in-stock items that can be shipped immediately. In all cases, we provide confirmed lead times upon receipt of actual order enquiries. Packing Information At Alexander Lamont we have 12 years’ experience packing and shipping our pieces around the world to showrooms, projects and private residences. We work closely with the individual requirements of each client. Our prices include the carton packing procedure described below but exclude wooden crating, freight, duties and delivery. Our full terms can be found on our pricelist. Packing Procedure 1. Product Quality Inspection

Our QA team inspects each item before it is approved for packing. Each item is photographed before shipping. These images are available as verification on any shipping claim arising from damage during transportation and delivery. NB. Thai law requires that we affix a small ‘Made in Thailand’ sticker to every item. This is usually placed on the base or in the least visible area of the product.

2. Paper Packing Layer

We use a fine white paper to wrap every product and protect it from the influence of the other packing materials such as bubble wrap. The paper is secured with brown tape so that the cutting points for opening are clearly visible. NB. Plugs and wiring are wrapped in paper to ensure they cannot come in contact with the lamp body.

3. Bubble-Wrap Layer

Two layers of bubble-wrap tightly enclose every piece with a light but protective layer. The bubble wrap is secured with brown tape so that cutting points for opening are clearly visible.

4. Foam Layer

Once the cardboard carton box has been cut to size we line the box on all sides with a 1”/ 2.5 cm layer of white polystyrene foam. This stronger layer protects against most serious accidents during transportation.

5. Cardboard Carton Layer

Every box is custom cut and sealed with tape. Stickers are applied indicating correct orientation and that the product is fragile. All boxes will have clear and accurate destination and origin labeling. We can affix further labeling / addresses as requested. NB: Lamp bases and shades will be packed in separate boxes in most cases. If crated then both boxes will be inside a single crate.

6. Wood Crating

Upon request we can pack the cardboard cartons in wooden crating. Crates can be closed with either nails or screws. Wooden crates are always fumigated at the packing location and marked as fumigated. NB. Normally wooden crating is used only for very heavy or fragile items such as mirror frames, cabinets or large tables. However, we can crate anything upon request and for an additional charge.

Shipping Information General All items are priced Ex-Works Bangkok. We can provide a shipping quotation on receipt of details of shipping address, floor level, and special requirements such as unpacking, installation etc. Goods can be shipped by air freight, sea freight or courier (Federal Express). 183


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