Carlo Nason’s lighting for Mazzega often set thick Murano glass against a simple metal armature, letting the structure stay legible rather than hiding it behind a continuous shade. This floor lamp, identified as model LT 379, follows that approach through a tall open column built from separate glass elements in cristal and tobacco tones around a dark square base.

Design
The lamp is organised as a narrow upright column rising from a dark square base, with the body made from separate vertical glass sections rather than a single continuous casing. Those sections stand around the perimeter and leave the centre visually active, so the eye reads both the outer silhouette and the layered interior at the same time. From the front and quarter views, the base acts as a firm horizontal stop beneath a composition that is otherwise almost entirely vertical. The contrast between the plain, flat-edged plinth and the irregular glass above keeps the lamp grounded, and it also makes the body appear taller by comparison.

Its glass is arranged in alternating clear and tobacco tones, and that change of colour is visible even before the lamp is lit. Unlit, the tobacco pieces register as darker bands between the paler cristal elements, giving the column a striped rhythm without any applied ornament. Once illuminated, those darker sections turn amber and the clearer sections carry a whiter glow, so the lamp does not read as one even shaft of light. Instead, the colour differences separate the planes from one another and make the interior brighter in some channels and more muted in others.

The individual glass pieces are thick and visibly uneven, with rippling surfaces, trapped bubbles and cloudy variation apparent in the close photographs. That material texture changes the passage of light through the lamp: bright points from the bulbs are diffused across the broader faces, and reflections break along the wavering surfaces instead of forming clean mirrored highlights. In close view, the edges remain rounded and slightly irregular, so each panel keeps its identity as a separate element. The result is that the strict rectangular outline never becomes mechanically flat, even where the profile remains straight.

The construction stays readable through the visible round metal fixings and the open top beneath a square cap plate. Rather than concealing the fastenings, the lamp leaves them in sight between and across the glass panels, which makes the body look assembled from repeated parts rather than moulded as one piece. Small gaps between panels and the open upper section allow glimpses into the centre, where the lamps and supports sit behind the glass skin. From the side this gives the column a lighter presence than a solid block would have had, and when lit it lets the glow travel out through several layers instead of stopping at a single outer wall.

Condition
Vintage condition with visible age and use. The supplied photographs show light surface wear and minor marks to the glass and metal, with bubbles and internal variation from manufacture as per murano glass from that 1970s.