Sentence examples similar to gray lamp from inspiring English sources

By Adrien Stoutenburg The New Yorker, January 25 , 1964P. 26 The owls roost like gray lamps up there View Article By Jelani Cobb By David Remnick By Seth Lind By Jia Tolentino.

What I like most about my wall of lights is, if you were to look at one of those individual lamps, you would say it is just a hideous gray enameled lamp from 1940.

The walls were painted dark gray and Ikea lamps sat on the ground, lighting an otherwise gloomy ground-floor space that looked almost the same any time of day or night.

The Romania of "12 08 East of Bucharest" is bleak — the streets are gray and wet, the lamps flicker on and off, and almost all the color has been washed out of the film stock, rendering the apartments even more dingy and cramped, the human faces more exhausted — and yet, when I saw it, the audience laughter was as loud and sustained as at "Borat".

One young woman, dressed all in black, bought a lamp with a gray handle (No. 713).

An upstairs bedroom is more sparsely furnished, with a gold-framed portrait of a woman, a table, a lamp and several gray balls he scattered one day because he liked the way they looked.

The 700-seat, main-floor business- class lounge is decorated in a Japanese theme, with deep gray speckled carpets, paper lantern lamps and a gold screen in one corner with carp, a sign of good luck.

Long blades of ice -- some glowing white in the work lamp, some filthy with gray glacial sediment -- are coming at you from every direction.

Night cloaks the bulky three towers in "Didcot Power Station, Study 1, Oxfordshire, England" (1989) in elegant shades of gray, their curvy stateliness offset by three lamps marching toward them wrapped in thin, right-angled rectitude.

That is why the movie begins in the ravishing sorrow of dawn, in Montmartre and Pigalle, with the street lamps going off; the cinematography, gray on gray, was by Henri Decae, who, in addition to his films for Melville, also shot Louis Malle's "Lift to the Scaffold" (1958) and François Truffaut's "The 400 Blows" (1959), a crest of the French Nouvelle Vague.

The focal point was a large STORNÄS dining table, in gray, with STEFAN chairs and a MÅNLJUS pendant lamp.