Paavo Tynell for Lightolier Rare Large Ballerina Twelve-Light Chandelier, 1950s

Paavo Tynell was an industrial designer, known as the great pioneer of Finnish lighting design and fondly dubbed “the man who illuminated Finland.” Tynell was one of the founders and chief designers of Taito Oy — the first industrial producer of lamps and other lighting fixtures in Finland. With the innovation of electricity in the beginning of the 20th century, Taito Oy and Tynell expanded the thinking and manufacturing of modern lighting solutions in Europe and abroad.

Tynell rose to prominence in the 1930s and 1940s, during which he collaborated with some of the most renowned Finnish architects, Alvar Aalto being the most notable one. Working to incorporate artificial lighting into modern environments, Tynell’s company Taito Oy produced fixtures for all of Aalto’s major projects including the Paimio Sanatorium and the Viipuri Library.

Tynell was especially praised for his involvement with the Finland House, a design atelier in New York that showcased the work of Finnish designers and craftspeople. His elegant brass designs became an instant success in North America, and he began creating lighting designs for the prestigious American company Lightolier.

A master craftsman, Tynell’s designs were derivative of a traditional aesthetic with a modern sensibility, mixed with an extensive use of perforated and polished brass. Marked by delicacy and softness, his most famous forms in lighting echo the structures of nature; he adroitly created sculptural shapes reminiscent of the branches of trees, swirling snowflakes and seashells.

Find antique Paavo Tynell chandeliers and pendants, floor lamps and other lighting for sale on 1stDibs. 

(Biography provided by Side Gallery)

Founded in 1904 in New York and family-operated through most of its history, Lightolier was one of the pioneering American electric lighting companies, best known for its embrace of stylistic and technical innovations.

Collectors focus on vintage Lightolier lighting fixtures produced from the 1950s and into the 1970s, when an in-house design team led by Gerald Thurston — and a stellar cast of international design contributors — created an array of practical yet aesthetically lively table lamps, floor lamps, sconces and chandeliers.

Amidst the post-World War II building boom, Lightolier — the name combines “light” and “chandelier” — aggressively boosted its residential lighting division. Thurston, who was strongly influenced by the sleek designs of Gino Sarfatti and his Italian lighting firm Arteluce, towards simpler lamp designs that offered flexibility of function. His best-known designs include the Cricket task light — a lamp with an adjustable enameled metal hood that toggles on a slender bent-metal base — and the three-legged Tripod floor lamp. At the same time, Thurston had a wonderful eye for talent and sought work from some of the lesser-known greats of the era, such as Paavo Tynell, the Finnish lighting designer, who designed several brass chandeliers for Lightolier with his trademark elegant flamboyance.

And more, Thurston recognized abilities in designers not known for their work in lighting.

Edward Wormley, head of furniture design for Dunbar, produced several noteworthy chandeliers employing canisters and reflective hoods. Alvin Lustig was famed as a graphic designer. His ca. 1953 Ring ceiling fixture for Lightolier had a minimalist techno look some 30 years ahead of its time. But this was par. Designed by Michael Lax in 1964, the Lytegem high-intensity lamp — included in the permanent collection of the Museum of Modern Art — features a ball-shaped shade attached with a chromed armature to a cubic base, a form that would be widely copied in the following decade. Chandeliers designed in the early 1970s by Gaetano Sciolari, with details such as acrylic diffusers and vertical, two-bulb arms, would define the look of lighting in their day.

A look through these pages reveals just how astonishingly wide a range of lighting pieces Lightolier produced. The company never flicked off its stylistic switch.

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