Kalmar Franken KG catalogued the PAN 3 WA in 1972, placing this model within the company’s Austrian lighting production of the period. The champaign color gives these lamps a very warm presence. As a pair, the lamps read as a repeated architectural unit: thick relief glass set in front of a plain rectangular support, with the form changing from a cool silvery surface when unlit to a warmer, more diffuse volume once illuminated.

Design
Each lamp is organised around a single vertical glass front set proud of a separate rectangular wall support behind. From the front, the glass reads as four rounded uprights joined into one relief panel, with alternating heights across the top and lower cut-ins between the vertical elements. That broken outline stops the lamp from appearing as a flat rectangle on the wall. Instead, the edge rises and falls in a measured sequence, and the silhouette remains legible even before the light is switched on.

The relationship between the textured glass and the plainer support is central to the appearance. Side views show the glass projecting forward from the metal backplate rather than sitting flush to it, leaving a visible gap that gives the composition more depth. The back support stays narrow and visually recessive, so the glass becomes the dominant front element. This separation also produces a secondary profile from the side, where the lamp reads as a layered object rather than a single slab fixed directly to the wall.

Close photographs show a rippled relief surface across the glass, with small bubbles and irregularities held within it. Unlit, these details break reflections across the face and give the clear glass a denser, almost silvery appearance against the wall. When illuminated, the same uneven surface scatters the light through the full height of the panel, so the brighter core is softened and spread through the relief instead of appearing as a sharp exposed source. The result is a front that changes noticeably between daylight and illumination without any added shade.

Small round fasteners are visible through the central area of the glass, making the fixing method part of the lamp’s face rather than hiding it entirely. Once lit, the lamps cast distinct vertical shadows behind the raised glass elements and broader rays above and below, so the wall records the shape of the front panel as well as the light itself. Seen as a pair, those shadows repeat the four-part rhythm of each lamp and extend the design beyond the glass body, giving the set a more structured presence across the wall.

Condition
Vintage condition with visible age and use. The photographs show minor marks and irregularities to the glass, along with age and light wear to the metal supports.