Nimbus has always been the lamp we carry. It lives on a shelf, then on the dinner table, then out on the steps while the evening holds. The body has not changed. What has changed is its surface: three new finishes now join the collection, and each one asks the light to behave a shade differently.

Three surfaces

• Raw Brass — unlacquered, straight from the bench. It starts bright and darkens where hands keep touching it, so after a year the lamp holds a faint map of the rooms it has lived in.
• Slate — a grey-blue paint laid on by brush in two thin coats. Matte, subtly uneven under raking light, and cool enough to make the warm glow read warmer beside it.
• Bone — our palest finish, a soft off-white with a dry, chalk-like feel. It slips into a pale wall and gives the light back almost whole, which is why we keep it for bedrooms and hallways.

Made the slow way

Each Nimbus body is turned, sanded and finished at a bench rather than along a line. We leave the brass bare on purpose: we would rather watch it age than lock it behind lacquer. The painted finishes go on with a brush, not a spray gun, which is why no two Slate surfaces match exactly and why Bone keeps a grain you can feel with a fingertip.

Before a lamp leaves the workshop we light it and look at it. Instruments measure; the eye decides. A surface that tests well can still feel wrong at seven in the evening, and that is the hour Nimbus is for.

The three finishes join the existing range instead of replacing anything, and all of them rest on the same charging base. The light underneath stays the low, warm one we have kept since Nimbus first took shape. Which surface belongs in your house depends on the room, the hour, and how much you like a thing that goes on changing while you own it. Choose the surface; we will keep the light steady.