Each of these six works belongs to one maker — conceived at his bench, raised by his hands, and signed like a canvas. We don’t call them products. A product can be repeated. A signature cannot.
The board is chosen long before you meet it: rosewood, walnut or ash, aged until it settles, steam-conditioned for calm, and picked by weight in the hand. Solid to the core. Never veneer.
Cut, sculpted and joined by whichever discipline the form demands — the saw, the chisel, the lathe where a curve truly calls for it. No moulds. No templates to hide behind.
Hand-sanded through ever-finer grits, sealed, colour-lacquered where the design asks — then cured beneath a hardened clear topcoat by our finishing masters, Zeeshan Athar and A.K. Khan. A finish built for decades, not seasons.
Assembled by Umar, packed by Arslan, released with a numbered certificate. The maker’s signature goes on last — it is the only part that cannot be redone.
A Signature begins months before its first cut, and it never travels alone — four crafts lead the way, and the thirty-two makers of our atelier stand behind them, from the first sanding to the final inspection.
The Apex takes its silhouette from the stepped crowns of 1920s skyscrapers — the same setbacks that gave Art Deco towers their rise. Four fins of solid American ash stand around the light, each one cut back in steps toward its peak, with channels of dark walnut running their height like pinstripes on a building at night.
The wood is kiln-dried before a single cut is made — its moisture drawn down slowly so the piece stays true for decades, in a Dubai summer or a London winter alike. Everything after that happens inside the Lamp & Glow studio: cutting, joinery, hand-sanding, polishing, wiring and a final inspection before the lamp is set into its wooden case. One piece at a time.
There is no shade to hide behind. The Apex was designed around its bulb — a long spiral filament that hangs between the towers like a lit window line — and it ships with the exact bulb it was designed around, matched to your country's voltage. An inline dimmer on the braided cord takes it from working light down to a last-ember glow. Thirty pieces make up this first edition; yours arrives numbered and signed beneath the base.
Zeeshan Athar works in increments.
The Ascent rises like a staircase of solid walnut — each tier cut a breath taller than the last, so the eye and the light climb together toward the crown. Nothing about it hurries, and nothing about it is allowed to. Patience, made visible — then made permanent.
A.K. Khan wanted the warmth of fired clay in a piece of wood.
The Terra is drawn round on the lathe, then given back to the hand: A.K. Khan ribs the rosewood groove by patient groove and works a patina into each one until it glows like sunset on terracotta. Where others polish the hand out of wood, he leaves it in — a hundred and ten hours of it — texture you can read with your eyes closed.
Usman Azhar chased a single quality — shine.
Qari Azhar turns The Doue to an amphora's curve, then surrenders it to Usman Azhar's lacquer bench: sealed, coated thin coat upon thin coat — each polished before the next — and cured to a hardened gloss that holds the room like still water. Ninety hours, most of them spent waiting. Shine cannot be rushed; it can only be earned.
1 of 1The Heritage is not designed so much as discovered.
Usman Azhar selects a single live-edge block — bark intact — and lets the tree decide the form. Where the grain rings widen, the light pools; where the bark breaks, it rests. No two could ever be alike, because no two trees ever were. Yours is the only one there is — chosen once, finished once, never repeated.
Seasoned rosewood, walnut or ash — aged until it settles, solid throughout, never veneered.
Professionally wired at full mains voltage — socket, cable and plug fitted to your country’s standard — and crowned with a warm filament bulb for that soft, golden glow.
Hand-sanded to silk, sealed and colour-lacquered, then cured beneath a hardened clear topcoat — a surface made for decades. A soft, dry cloth is all it ever asks.
Each piece is numbered and covered by our lifetime guarantee on the wood and craftsmanship — with two years on the electricals.
Beyond the collection, our makers accept a small number of private commissions each year — your wood, your dimensions, your name beside theirs. Commissions are few by design; a signature cannot be hurried.
Enquire about a commissionA Signature piece is the closest thing to owning the maker’s hand — turned once, signed once, kept for a lifetime.
