Poul Henningsen

Tina Jørstian and Poul Erik Munk Nielsen, eds., Light Years Ahead, The Story of the PH Lamp, Copenhagen, 1994, p. 241 for a drawing, p. 242

Overall very good condition consistent with age. Minor oxidation throughout. Please note that the central shade is not crooked as in the printed catalogue. Please refer to the online catalogue to see the work in the correct condition. Sotheby's does not guarantee electrical components and recommends having all works inspected by a licensed electrician.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The lighting designs of Poul Henningsen were nothing short of revolutionary. Obsessed with the idea of creating a light that evenly distributed light in a space whilst hiding the source of illumination, Henningsen reached ultimate success with his ‘PH’ shade design, circa 1925. Materials were of great relevance to Henningsen’s designs, and he experimented widely in both metal and glass shades. In 1926, desiring to create a lamp with a lesser degree of downward directional lighting, Henningsen opted for a hand-blown, opal glass shade, sandblasted to the underside. This allowed for additional distribution of light through the shades, improving the quality of universal light. Most importantly, this new shade completely eliminated any glare, an issue Henningen struggled with in his earlier metal designs. To resolve this issue, and provide a more even light around the room, Henningsen added an inverted fourth shade which allowed light to escape upwards, allowing both directional and universal light from one source. The present lot is a rare example in copper and is the larger of the two models offered at the time.