Furniture designers saw lamps as a way to unify their work with the rest of a room’s furnishings. Thus, George Nelson Associates, whose tables, chairs, and couches designed for the Herman Miller Company are Mid-century Modern classics, made lighting products for Howard Miller, Herman’s son. The most famous of these was probably the Bubble lampshade, produced in 1952. Shaped roughly like a mushroom’s cap, the lamp was made of translucent plastic pulled tight over a wire frame. Collectors should look carefully at the earliest examples of these shades, which had a tendency to yellow.

In Europe, Danish designer Poul Henningsen created a hanging lamp for manufacturer Louis Poulsen. Known as the Artichoke lamp, Henningsen’s steel-plate creation was a contemporary riff on the traditional crystal chandelier. Scandinavian Alvar Aalto went in a more minimalist direction with his Handgranate A 111 lamp, whose pair of white, painted-metal-and-brass cylinders hung from a slender wire.

Italian lamp designs were also illuminating. One atomic-style six-bulb chandelier from 1950 featured a metal globe at its center surrounded by angled brass tubes—the lights at the ends of the tubes suggested protons and neutrons. The Castiglioni brothers excelled at floor lamps like the Luminator (1954), which consisted of little more than a spotlight at the top of a long, vertical, black-metal tube. Other Italian floor lamps from the 1950s were topped by trios of goosenecks, at the ends of which were brass-belted hourglasses in a range of colors and finishes.

One pair of designers who are often incorrectly credited with designing lamps are Charles and Ray Eames. While the Eameses excelled at chairs and other types of furniture, they were content to leave lighting to their fellow designers, and the sun.

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