Prendergast Floor Lamp
Details
Bring home modern glamour with our Prendergast Floor Lamp. This iron floor lamp features a stunning gold finish, and a stylish white cultured marble base. Bringing a sense of luxury and glam to any room, with its striking silhouette, this lamp is built to warm up any corner, from a favorite reading nook, to an empty space beside the sofa. Beneath the warm metal shade, modern and traditional style meet with a curved, dual bulb arrangement that features classic pull-chain switches, giving you control over how much light this lamp emits. Designed to make a statement, with its modern classic silhouette, the Prendergast Floor Lamp is the perfect way to give your home a glow up.
Editors' Note
This piece is named for Merris Shirley Prendergast, a trailblazing theatrical lighting designer who, in 1973, became the first African American woman to design lighting on Broadway. Born in Boston in 1929 to parents Wilford and Dorita, Prendergast, who went by Shirley professionally, was raised primarily in New York. Before becoming a celebrated figure in the arts, Prendergast spent her youth pursuing a career in the sciences. She graduated from Brooklyn College in 1954 with a bachelors in microbiology. Afterward she worked for a time for the New York City Health Department as a bacteriologist. Ironically, it was success in her scientific career that led to her exploration of the arts. Dissatisfied with the sedentary nature of her work, Prendergast began studying dance in an effort to stay fit. Eventually she began to perform with several small companies. She also developed an interest in photography, a discipline at which she considered herself a "serious amateur." To better hone her skills with a camera, Prendergast attended a class on lighting given at the 51st street YWCA. The instructor, Nicola Cernovich, worked frequently as a designer with the Alvin Ailey dance company. Recognizing Prendergast's potential, Cernovich encouraged her to continue studying. She attended the New York Studio and Forum of Stage Design, founded by stage designer, Lester Polakov. There, her teachers included Peggy Clark, a lighting designer with over 60 Broadway shows to her credit, and Thomas Skelton, lighting designer for the Joffrey Ballet School and co-founder of the Ohio Ballet. in 1969, Skelton encouraged Shirley to take the United Scenic Artists’ Local 829 lighting design examination. Prendergast passed the exam, becoming the union's first Black, female member, and began to work with Skelton as his assistant, both for his work with Alvin Ailey and on Broadway, in addition to designing for smaller productions on her own. The 1969 Broadway show, "Indians," on which Prendergast assisted Skelton, received a 1970 Tony Award nomination for Best Lighting Design. During that time, she was approached by actor, director and playwright, Douglas Turner Ward, co-founder of the Negro Ensemble Company (NEC) to design lighting for the company's presentation of the Ray Lawler play, “Summer of the Seventeenth Doll.” It was with the NEC show, "The River Niger," that Prendergast made her Broadway debut in 1973. In the decades that followed her work would grace numerous productions and stages for companies including Alvin Ailey, the NEC and the New Federal Theatre. She continued work as an assistant and associate lighting designer on Broadway, working with Skelton and others, and being billed in either capacity on 7 shows from 1974 to 1979. Following that period, she was lead designer on 5 additional Broadway shows, including 1983's "Amen Corner," 1987's "Don't Get God Started," and both the 1988 and 1995 productions of the Phillip Hayes Dean bio-play, "Paul Robeson," — both of which featured actor Avery Brooks in the title role. Over the years, Prendergast accumulated many accolades for her work both on and off the stage. She was awarded by the Audience Development Committee (AUDELCO) — an organization committed to honoring Black Theatre artists — in 1974, a year after the organization's founding, and again in 1977, 2000 and 2011. She won the 1997 Obie Award for Sustained Excellence in Lighting Design. And in 2014 she was honored by the United States Institute for Theatre Technology with its Distinguished Achievement Award in Lighting Design. Always known as a kind and calm presence on set, even into her 80s, Merris Shirley Prendergast passed away in 2019, a true trailblazer in a field that still enjoys too few female designers of color.
Details
Bring home modern glamour with our Prendergast Floor Lamp. This iron floor lamp features a stunning gold finish, and a stylish white cultured marble base. Bringing a sense of luxury and glam to any room, with its striking silhouette, this lamp is built to warm up any corner, from a favorite reading nook, to an empty space beside the sofa. Beneath the warm metal shade, modern and traditional style meet with a curved, dual bulb arrangement that features classic pull-chain switches, giving you control over how much light this lamp emits. Designed to make a statement, with its modern classic silhouette, the Prendergast Floor Lamp is the perfect way to give your home a glow up.
Editors' Note
This piece is named for Merris Shirley Prendergast, a trailblazing theatrical lighting designer who, in 1973, became the first African American woman to design lighting on Broadway. Born in Boston in 1929 to parents Wilford and Dorita, Prendergast, who went by Shirley professionally, was raised primarily in New York. Before becoming a celebrated figure in the arts, Prendergast spent her youth pursuing a career in the sciences. She graduated from Brooklyn College in 1954 with a bachelors in microbiology. Afterward she worked for a time for the New York City Health Department as a bacteriologist. Ironically, it was success in her scientific career that led to her exploration of the arts. Dissatisfied with the sedentary nature of her work, Prendergast began studying dance in an effort to stay fit. Eventually she began to perform with several small companies. She also developed an interest in photography, a discipline at which she considered herself a "serious amateur." To better hone her skills with a camera, Prendergast attended a class on lighting given at the 51st street YWCA. The instructor, Nicola Cernovich, worked frequently as a designer with the Alvin Ailey dance company. Recognizing Prendergast's potential, Cernovich encouraged her to continue studying. She attended the New York Studio and Forum of Stage Design, founded by stage designer, Lester Polakov. There, her teachers included Peggy Clark, a lighting designer with over 60 Broadway shows to her credit, and Thomas Skelton, lighting designer for the Joffrey Ballet School and co-founder of the Ohio Ballet. in 1969, Skelton encouraged Shirley to take the United Scenic Artists’ Local 829 lighting design examination. Prendergast passed the exam, becoming the union's first Black, female member, and began to work with Skelton as his assistant, both for his work with Alvin Ailey and on Broadway, in addition to designing for smaller productions on her own. The 1969 Broadway show, "Indians," on which Prendergast assisted Skelton, received a 1970 Tony Award nomination for Best Lighting Design. During that time, she was approached by actor, director and playwright, Douglas Turner Ward, co-founder of the Negro Ensemble Company (NEC) to design lighting for the company's presentation of the Ray Lawler play, “Summer of the Seventeenth Doll.” It was with the NEC show, "The River Niger," that Prendergast made her Broadway debut in 1973. In the decades that followed her work would grace numerous productions and stages for companies including Alvin Ailey, the NEC and the New Federal Theatre. She continued work as an assistant and associate lighting designer on Broadway, working with Skelton and others, and being billed in either capacity on 7 shows from 1974 to 1979. Following that period, she was lead designer on 5 additional Broadway shows, including 1983's "Amen Corner," 1987's "Don't Get God Started," and both the 1988 and 1995 productions of the Phillip Hayes Dean bio-play, "Paul Robeson," — both of which featured actor Avery Brooks in the title role. Over the years, Prendergast accumulated many accolades for her work both on and off the stage. She was awarded by the Audience Development Committee (AUDELCO) — an organization committed to honoring Black Theatre artists — in 1974, a year after the organization's founding, and again in 1977, 2000 and 2011. She won the 1997 Obie Award for Sustained Excellence in Lighting Design. And in 2014 she was honored by the United States Institute for Theatre Technology with its Distinguished Achievement Award in Lighting Design. Always known as a kind and calm presence on set, even into her 80s, Merris Shirley Prendergast passed away in 2019, a true trailblazer in a field that still enjoys too few female designers of color.
Details
Bring home modern glamour with our Prendergast Floor Lamp. This iron floor lamp features a stunning gold finish, and a stylish white cultured marble base. Bringing a sense of luxury and glam to any room, with its striking silhouette, this lamp is built to warm up any corner, from a favorite reading nook, to an empty space beside the sofa. Beneath the warm metal shade, modern and traditional style meet with a curved, dual bulb arrangement that features classic pull-chain switches, giving you control over how much light this lamp emits. Designed to make a statement, with its modern classic silhouette, the Prendergast Floor Lamp is the perfect way to give your home a glow up.
Editors' Note
This piece is named for Merris Shirley Prendergast, a trailblazing theatrical lighting designer who, in 1973, became the first African American woman to design lighting on Broadway. Born in Boston in 1929 to parents Wilford and Dorita, Prendergast, who went by Shirley professionally, was raised primarily in New York. Before becoming a celebrated figure in the arts, Prendergast spent her youth pursuing a career in the sciences. She graduated from Brooklyn College in 1954 with a bachelors in microbiology. Afterward she worked for a time for the New York City Health Department as a bacteriologist. Ironically, it was success in her scientific career that led to her exploration of the arts. Dissatisfied with the sedentary nature of her work, Prendergast began studying dance in an effort to stay fit. Eventually she began to perform with several small companies. She also developed an interest in photography, a discipline at which she considered herself a "serious amateur." To better hone her skills with a camera, Prendergast attended a class on lighting given at the 51st street YWCA. The instructor, Nicola Cernovich, worked frequently as a designer with the Alvin Ailey dance company. Recognizing Prendergast's potential, Cernovich encouraged her to continue studying. She attended the New York Studio and Forum of Stage Design, founded by stage designer, Lester Polakov. There, her teachers included Peggy Clark, a lighting designer with over 60 Broadway shows to her credit, and Thomas Skelton, lighting designer for the Joffrey Ballet School and co-founder of the Ohio Ballet. in 1969, Skelton encouraged Shirley to take the United Scenic Artists’ Local 829 lighting design examination. Prendergast passed the exam, becoming the union's first Black, female member, and began to work with Skelton as his assistant, both for his work with Alvin Ailey and on Broadway, in addition to designing for smaller productions on her own. The 1969 Broadway show, "Indians," on which Prendergast assisted Skelton, received a 1970 Tony Award nomination for Best Lighting Design. During that time, she was approached by actor, director and playwright, Douglas Turner Ward, co-founder of the Negro Ensemble Company (NEC) to design lighting for the company's presentation of the Ray Lawler play, “Summer of the Seventeenth Doll.” It was with the NEC show, "The River Niger," that Prendergast made her Broadway debut in 1973. In the decades that followed her work would grace numerous productions and stages for companies including Alvin Ailey, the NEC and the New Federal Theatre. She continued work as an assistant and associate lighting designer on Broadway, working with Skelton and others, and being billed in either capacity on 7 shows from 1974 to 1979. Following that period, she was lead designer on 5 additional Broadway shows, including 1983's "Amen Corner," 1987's "Don't Get God Started," and both the 1988 and 1995 productions of the Phillip Hayes Dean bio-play, "Paul Robeson," — both of which featured actor Avery Brooks in the title role. Over the years, Prendergast accumulated many accolades for her work both on and off the stage. She was awarded by the Audience Development Committee (AUDELCO) — an organization committed to honoring Black Theatre artists — in 1974, a year after the organization's founding, and again in 1977, 2000 and 2011. She won the 1997 Obie Award for Sustained Excellence in Lighting Design. And in 2014 she was honored by the United States Institute for Theatre Technology with its Distinguished Achievement Award in Lighting Design. Always known as a kind and calm presence on set, even into her 80s, Merris Shirley Prendergast passed away in 2019, a true trailblazer in a field that still enjoys too few female designers of color.
Additional Details
Floor lamp
Color: Gold, White
Material: Iron, Cultured marble
Dimensions: 17.25" x 17.25" x 60.5"
Weight: 11.96 lbs
72" clear colored cord
2 9W LED light bulbs included
Not Dimmable
UL approved
Imported
Made to order
Ships to the US in 3-4 weeks
