Provence française · Laiton Coulé · Cristal Central Suspendu · Configurations 6+1 ou 8+1
Un lustre en laiton Provence française construit autour d'un cristal central en forme de poire suspendu dans une armature de cage en laiton élancée. Six ou huit bras de candélabre externes s'incurvent vers l'extérieur depuis l'anneau en laiton coulé, chacun tenant une douille en forme de flamme au-dessus d'une bobèche scrollée, tandis que le cristal central abrite une ampoule supplémentaire qui illumine l'ensemble du cristal de l'intérieur.
Convient aux salles à manger formelles, aux grands halls d'entrée et aux salons traditionnels aux intérieurs de style French Provincial, néoclassique ou classique. Disponible en deux tailles — six bras pour les salles à manger standard, huit bras pour les halls d'entrée ou les espaces formels de plus grande envergure.
Voir en action
Configurations — À Choisir à la Caisse
Luminaire lourd — vérifiez la capacité de la boîte de jonction. Corps en laiton moulé avec un cristal central suspendu en fait un lustre substantial, particulièrement la version 8+1. Confirmez auprès d'un électricien agréé que votre boîte de jonction au plafond et support structurel sont dimensionnés pour cette charge avant installation. Les boîtes résidentielles standard supportent généralement jusqu'à 50 lb ; pour les installations plus lourdes, une boîte compatible ventilateur ou renforcée peut être nécessaire.
Spécifications
| SKU | RDC-165004 |
| Configurations | 6+1 bras (7 ampoules au total) · 8+1 bras (9 ampoules au total) |
| Matériaux | Corps en laiton moulé, bras et cage de structure · Pendant cristal taillé transparent au centre |
| Style | French Provincial / Néoclassique |
| Source lumineuse | Douille à candélabre E12 / E14 par bras + chute centrale · Ampoules non comprises · Remplaçables par l'utilisateur |
| Variation d'intensité | Compatible avec les ampoules LED graduables + variateur mural TRIAC |
| Tension | AC 110–240V · Universel |
| Chaîne de Suspension | 50 cm / 19.7″ · Réglable lors de l'installation |
| Fixation | Câble suspendu câblé en dur · Boîte de jonction standard (vérifier la capacité) |
| Idéal pour | Salles à manger formelles · Grands halls d'entrée · Salons traditionnels · Intérieurs French Provincial & néoclassiques |
Téléchargements
Questions fréquentes
Que signifient « 6+1 » ou « 8+1 » ? +
Le « +1 » désigne la chute de cristal centrale — une ampoule supplémentaire logée à l'intérieur du pendant en cristal en forme de poire au centre du luminaire. La version 6+1 compte 6 bras candélabre extérieurs plus 1 ampoule à chute cristal au centre (7 douilles au total). La 8+1 en compte 8 extérieurs plus 1 chute au centre (9 douilles au total). La chute centrale illumine le cristal de l'intérieur, créant un point focal lumineux au-delà des bougies des bras.
Quelle taille convient à ma pièce ? +
La 6+1 (65 cm de largeur) convient aux salles à manger standard (tables de 8–10 pieds) et aux salons traditionnels avec plafonds de 9 pieds et plus. La 8+1 (85 cm de largeur) est une pièce de déclaration dimensionnée pour les grands halls d'entrée, les halls d'entrée à double hauteur, ou les salles à manger formelles avec tables 12+ places et plafonds 10 pieds et plus.
Quel type d'ampoule utilise-t-elle ? +
Chaque douille accepte une ampoule à base candélabre E12 (Amérique du Nord) ou E14 (UE/Royaume-Uni/Australie) jusqu'à 25W. Nous recommandons des ampoules LED candélabre blanc chaud (3000K). Pour les bras extérieurs, la forme à bout en flamme donne l'aspect le plus authentique. Pour la chute de cristal centrale, un petit globe transparent ou une ampoule candélabre fonctionne au mieux. Ampoules non comprises.
Le cristal est-il vrai ou du verre ? +
Le pendant central est en cristal taillé — du cristal de verre facetté et poli de haute qualité qui réfracte la lumière pour créer l'effet de lueur prismatique. Il s'agit de cristal décoratif adapté au prix et à la finition du luminaire, non du cristal naturel. Le motif taillé et la qualité de réfraction sont bien conçus pour l'effet visuel.
Fonctionnera-t-il sur un plafond incliné ? +
Le montage standard est destiné aux plafonds plats en utilisant l'ensemble chaîne et canopée inclus. Pour les plafonds inclinés, un adaptateur pour plafond incliné est généralement nécessaire (vendu séparément par les fournisseurs de matériel). La structure suspendue par câble s'adapte bien aux pentes modérées une fois qu'un adaptateur est installé.
Est-ce dimmable ? +
Le luminaire devient entièrement gradable lorsqu'il est associé à des ampoules LED candélabre graduables et à un variateur mural TRIAC standard (tous deux vendus séparément). Graduer ce style de lustre crée un effet particulièrement atmosphérique — le cristal continue à réfracter magnifiquement la lumière même à 30–40% de luminosité.
- Design de forme unique
- Fabriqué de manière responsable
- Matériau de haute qualité
- Testé pour la durabilité
ENTRETIEN
ENTRETIEN
- Époussetez avec un chiffon doux et sec.
- Pour protéger la finition, nous ne recommandons pas l'utilisation de nettoyants ménagers ou d'abrasifs.
- Ne pas dépasser la puissance spécifiée.
POLITIQUE D'EXPÉDITION ET DE RETOUR
POLITIQUE D'EXPÉDITION ET DE RETOUR
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Welcome offer
Ten percent off
your first order
Enter the code at checkout. Applies to the full order, including custom finishes.
The metal that holds
the light of years.
Brass is the alloy civilisations reach for when they want light to last. Door pulls polished by three generations. Naval instruments still readable a century after the ship was scrapped. Church candelabra that outlive the parish. Radilum's American Brass Collection is built on that same expectation — fixtures forged from H65 cartridge brass, finished by hand, sealed against time, and meant to be the lamp your grandchildren still recognise.
The alloy that refuses to age.
Brass is a copper-zinc alloy whose first known smelting dates to roughly 500 BCE in the eastern Mediterranean — Greek artisans alloying calamine ore with native copper to produce a metal that struck like gold but bent like a tool. By the Roman imperial period, brass was the material of coinage, military fittings, and the household lamps that lit late-republic Rome. Two and a half millennia later it remains, by an enormous margin, the most-used non-ferrous engineering alloy on the planet — and the lighting industry's quiet workhorse.
What makes brass uniquely fit for lighting is a coincidence of properties no single-element metal achieves. Copper gives it warm chromatic depth and the specific red-yellow that reads as luxurious rather than industrial. Zinc hardens the alloy enough to hold sharp turned profiles, threaded fittings, and cast detail without the softness of pure copper or the dullness of grey castings. The blend produces a metal that is workable when you need it to be — and rigid for the next century.
Of the dozen brass grades available to manufacturers, Radilum specifies H65 cartridge brass — 65% copper, 35% zinc. The name comes from its original use: military shell casings, where the metal had to absorb the shock of firing without splitting. That same toughness, applied to a lamp arm, means the part stays dimensionally stable under decades of thermal cycling, hardware tightening, and bulb replacement. Lower-copper alloys (H62, H59) are cheaper but more brittle. We do not use them.
The Radilum brass collection is built on a simple recognition that the wider lighting industry has spent the last two decades forgetting: that the cost difference between a true brass fixture and a brass-plated zinc one is measurable in years of service, not dollars at checkout.
Four properties that change everything
about how a lamp ages.
Most fixture materials are chosen for what the lamp looks like in the showroom photograph. Brass is one of the very few materials that earns its place over the next thirty years. The differences come down to four physical and aesthetic properties.
01 Mass that reads as quality
Solid H65 brass has a density of 8.5 g/cm³ — denser than steel, denser than cast iron, more than three times the weight of zinc-die-cast. A brass sconce of comparable size to a brass-plated zinc one will weigh nearly four times as much. You feel the difference the moment you lift the box. It's not marketing — it's chemistry.
02 Living finish, not a coating
Brass-plated finishes are paint that happens to be metallic. They scratch, chip, and reveal cheaper alloy underneath. Solid brass is the finish — what you see is the metal itself, polished or patinated. A scratch on plated brass is a flaw; a scratch on solid brass is a wear mark that polishes back out. This is why brass instruments survive a century of touring while plated hardware ages out of fashion in five years.
03 Naturally antimicrobial
Copper alloys are oligodynamic — meaning their surface ions disrupt microbial cell membranes on contact. The EPA registers solid brass and bronze as antimicrobial surfaces. A brass switch plate, lamp pull, or door fitting is meaningfully cleaner than the stainless steel equivalent. For high-touch fixtures (bedside lamps, hallway sconces) this matters more than the brochures usually mention.
04 A spectrum the eye reads as warm
Brass reflects light selectively across the visible spectrum — absorbing slightly more blue and green, reflecting more red and yellow. The result is that any light source mounted in or near a brass fixture acquires a faint warm wash. We design the LED specification with this shift in mind: a 2700K bulb behind brass reads as roughly 2550K to the eye, the colour of late-afternoon window light.
Six finishes. Six different conversations
between metal and room.
A single block of H65 can be finished in a dozen ways — and the finish, more than any other variable, decides the personality of the fixture. The atelier maintains six standard characters and adds custom patinas on request. Physical samples are sent before final order on every project of three fixtures or more.
- Reflectivity~85%
- SealantIncralac
- Best forFormal rooms
- Reflectivity~35%
- TextureLinear satin
- Best forMost projects
- ToneAmber to black
- VariationEach unique
- Best forVintage interiors
- Reflectivity~5%
- EdgesBrass glint
- Best forModern luxe
- SealantNone
- PatinaContinuous
- Best forHeritage homes
- PlatingSatin nickel
- BodySolid H65
- Best forCool palettes
The seventeen you can actually order
The six characters above describe how a finish behaves. What you specify is one of seventeen numbered finishes — or a custom patina grown to match a sample you send us.
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
17
Finishes 01–17 · brass, bronze, iron, steel, nickel, chrome, black · custom patinas matched on request
Order by number, not by name. "Antique brass," "aged brass," "burnished brass" — ask five workshops what those mean and five different metals come back. Finish 04 is the same physical sample in our studio, on the atelier bench, and on your packing list.
And because no screen renders metal honestly, we ship the physical panels before anything is committed. Hold them against your cabinetry and wall paint, at the hour you actually use the room — then send the number.
Color that is grown, not painted on.
A brass finish is not a coat of paint — it is a controlled chemical reaction on the surface of the metal itself. Where a sprayed lacquer sits on top and eventually chips, a true patina is the brass reacting with sulphur, ammonia, or acid salts until its surface ions shift colour. The tone you see is the metal, transformed. That is why a patinated Radilum fixture deepens with age instead of peeling — and why every piece is coloured by hand, one at a time.
Seven stages, ten to twelve weeks,
and nothing exists before you choose.
A Radilum fixture is not pulled from a shelf. It is tooled, cast, polished, patinated and sealed after you order it — which is why the finish can be anything you want, and why the whole thing takes twelve weeks rather than two days.
One project specialist carries the commission from brief to install. There is no handover between sales, design, production and freight; the person who answers your first email is the one who sends you the polishing photographs.
The four stages you will see photographed
Stages three through six happen in the atelier, and each one arrives in your inbox as a timestamped photograph. Not because pictures sell anything — twelve weeks is a long time to trust a workshop on the other side of the world, and a photograph is the only thing that proves what we described actually happened. They come whether or not you ask.
Steel cut from your drawing
The signed-off render becomes a parametric model, then a five-axis tool path, then a steel mould cut in our own shop. Nothing is outsourced here — a tolerance lost at this stage cannot be recovered later.
H65 — the shell-casing alloy
65% copper, 35% zinc: the brass first specified for military cartridges because it absorbs shock without splitting. Every cast piece is annealed so it will not crack a decade from now.
Colour is grown, not sprayed
One technician carries your fixture through every grit, then the patina bath. The reaction is arrested within seconds of reaching tone, and high points are rubbed back by hand. Their mark is etched on the fitting plate.
Multi-layer sealant, tested for 25 years
Three coats of imported Incralac — the conservation lacquer museums use on bronze sculpture. Accelerated-aging tests project 25+ years tarnish-free — or we skip this stage entirely, by request.
The swatch is the cheapest step in the entire commission and the only one that prevents a remake — the finish is the single variable that cannot be corrected once the fixture is built.
Five archetypes — the working portfolio.
Most projects begin from one of five standard categories. Every category scales from intimate residential to full-room hospitality; every category accepts any of the seventeen finishes; every category ships UL-listed for North America (CE/SAA available on request).
Three principles drawn from two centuries
of American interior design.
The Radilum American Brass Collection is shaped by three lineages — Federal-era neoclassical proportion, the early-20th-century Arts & Crafts movement, and the mid-century industrial vernacular. The result is a portfolio that reads as American not because it is decorated with eagles and stars, but because it carries the same restraint and structural honesty that those three traditions share.
Restraint & Proportion
From Federal-era cabinetry: symmetry, balance, restraint. Arms stepped at golden-ratio intervals. Canopies sized to match the column they descend from. Nothing is decorative for decoration's sake. The grandeur is in the proportion, not the ornament.
Structural Honesty
From the Arts & Crafts vocabulary: function expressed, never disguised. Joinery shows. Fasteners are visible and intentional. The arm of a sconce is shaped because it must support a bulb — and that shape is the design. Nothing pretends to be what it isn't.
Classic Shades
From mid-century industrial: opal milk glass, fluted glass, woven linen, perforated metal mesh. Each shade has a hundred-year vocabulary behind it. We pair the shade to the fixture's intended room — not the photographer's preference for what reads on social media.
Begin with a brief, or a finish sample.
Whether you need a single bedside sconce or a hundred matched fixtures for a hospitality build-out, the first step is the same — write to us. The project specialist who reads your email is the one you'll work with from brief to install. Every email gets a real reply within 24 hours.
Expédition rapide
Livraison en 4 à 6 semaines
Certification nord-américaine
Aperçu de la certification nord-américaine
Paiement sécurisé
Paiement sécurisé par plusieurs cartes de crédit.
Measuring for Pendant Lighting
When installing pendants and chandeliers, it’s important to consider how you want your fixtures to hang in relation to the other furnishings in your space. Read on for our recommendations on how to hang the perfect light.
Kitchen
Aim for 30–36″ from the bottom of your fixture’s shade to the top of your island or countertop. Space multiple pendants 26–30″ apart. For a sense of proportion and balance, allow 12″ from the outermost fixture to the edge of your counter.
Dining Room
For optimal lighting and visibility, the bottom of your pendant should sit 30″ from the surface of your dining table. To scale your fixture, take the length and width of the room in feet, then convert that to inches. For a 10′ by 14′ room, the chandelier should be about 24″ wide.
Bedroom
If you’re hanging a pendant above a nightstand, allow for at least 30″ between the bottom of the shade and your nightstand’s surface. To keep the look balanced, center your pendant over your nightstand.
Tableau des tailles
| Taille |
| superficie XS |
| Pièce XS |
| Taille | Ø 2"-6" | Ø 6"-12" | Ø 12"-18" | Ø 20"-24" | Ø 24"-32" | Ø 32"-40" |
|---|---|---|---|---|---|---|
| superficie | 32-54 PI² | 54-107 PI² | 107-161 PI² | 161-215 PI² | 215-269 PI² | 269-378 PI² |
| Pièce | SALLE DE BAIN/COULOIR | SALLE À MANGER | CUISINE | CHAMBRE | SALON | INTÉRIEUR COMMERCIAL |
* Les tailles sont américaines et exprimées en pouces.