Laiton · Abat-jour Effilé en Lin · Applique Transitionnelle
Une applique murale dans le langage du luminaire transitjonnel américain classique — une plaque arrière carrée en laiton ancre une barre horizontale dont s'étendent un, deux ou trois bras, chacun terminé par un abat-jour effilé en lin au-dessus d'un petit finial à gland. La composition est disciplinée et graphique : un carré, un ou plusieurs bras horizontaux, des cônes en tissu doux à chaque source lumineuse.
Le laiton est fini à la main — brillant sur les dessus des bras polis, plus profond aux enfoncements où la lumière se joue. Disponible en quatre finitions (Laiton Poli, Noir Mat, Nickel Brossé, Blanc) et trois configurations (1, 2 ou 3 têtes) pour évoluer d'un simple accent de chevet à une large applique de coiffeuse ou d'escalier. Idéale pour les murs de chevet, les paires dans les escaliers, les miroirs de coiffeuse, les dressing, et les paires de part et d'autre des consoles dans les intérieurs transitionnels, traditionnels et Hollywood Regency.
Caractéristiques
Abat-jour en lin effilé
Les abat-jour cylindriques en lin cousu à la main diffusent une douce lumière chaude ascendante sur chaque bras.
Plaque Arrière Carrée en Laiton
La plaque carrée disciplinée ancre une barre horizontale — graphique, architecturale, transitionnelle.
1, 2 ou 3 Têtes
Évoluez d'un simple accent de chevet à une applique triple bras pour coiffeuse large.
Finition — À choisir à la caisse
Laiton Poli
Or miel chaleureux, comme illustré — chaleur transitionnelle et traditionnelle classique.
Noir mat
Noir mat doux pour les intérieurs modernes, galerie et à contraste élevé.
Nickel Brossé
Teinte argentée froide avec grain brossé — fraîche dans les intérieurs côtiers et contemporains.
Blanc
Blanc satiné épuré — s'efface dans les murs pâles pour une installation plus discrète.
Corps en métal fini à la main & abat-jours lin effilés. Chaque pièce est finalisée à la main — les variations subtiles de teinte et de profondeur de poli entre les finitions font partie du caractère artisanal. Les abat-jours lin évasés sont cousus à la main et peuvent présenter des variations mineures des coutures. Les versions multi-bras sont alignées en usine pour une symétrie optimale sur la barre.
Notes du Produit
L 13 × l 18 × H 44,5 cm
1 tête · ∅ 5,1″ × l 7,1″ × H 17,5″
L 41 × l 18 × H 30,5 cm
3 têtes · ∅ 16,1″ × l 7,1″ × H 12″
| Matériaux | Corps en métal fini à la main · Abat-jours tambour lin effilés |
| Finition | Laiton Poli · Noir Mat · Nickel Brossé · Blanc · à choisir à la commande |
| Style | Applique murale de style transitoire américain · architecturale · à rosace carrée |
| Taille — 1 tête | L 13 × l 18 × H 44,5 cm · ∅ 5,1″ × l 7,1″ × H 17,5″ |
| Taille — 2 têtes | L 33 × l 18 × H 30,5 cm · ∅ 13″ × l 7,1″ × H 12″ |
| Taille — 3 têtes | L 41 × l 18 × H 30,5 cm · ∅ 16,1″ × l 7,1″ × H 12″ |
| Rosace | L 11 × H 11 cm · ∅ 4,3″ × H 4,3″ · carrée |
| Taille de l'Abat-jour | L 15 × H 18 cm · ∅ 5,9″ × H 7,1″ · abat-jour tambour lin effilé |
| Culot | Douille E14 chandelier par bras · ampoules non incluses |
| Ampoules recommandées | Ampoule bougie LED blanc chaud 2700K–3000K, équivalent incandescence max 40W chacune |
| Température de couleur | Dépend de l'ampoule choisie · blanc chaud recommandé pour la luminosité de l'abat-jour lin |
| Variation d'intensité | Compatible avec une ampoule dimmable et un variateur TRIAC |
| Tension | AC 110–240V · universel |
| Fixation | Raccordée à la boîte de jonction murale · rosace carrée couvre la plupart des boîtiers US simple-gang |
| SKU | RDW-160110 |
| Délai de livraison | Fabrication sur commande · veuillez consulter l'estimation à la caisse |
| Idéal pour | Murs de chevet · Paires de couloir · Miroirs de vanité · Dressing · Paires symétriques au-dessus de consoles · Intérieurs transitoires, traditionnels & Hollywood Regency |
Installation
- S'installe sur une boîte de jonction murale standard — installation professionnelle recommandée.
- Rosace carrée (L 11 × H 11 cm) couvre la plupart des boîtiers US simple-gang ; vérifiez avant de percer.
- Pour les murs de chevet et les couloirs, installez la version 1 tête à 60–66″ au-dessus du sol fini.
- Pour la vanité, centrez la barre 2 têtes ou 3 têtes au-dessus du milieu du miroir à 75–80″ au-dessus du sol fini.
- Pour les paires symétriques au-dessus d'une console ou d'une cheminée, installez des appliques 1 tête assorties de chaque côté à 6–9″ au-dessus de la surface.
- Chaque abat-jour en lin se clip sur sa baguette à bulbe — installez les ampoules d'abord, puis enclipsez les abat-jour.
- Accepte les ampoules à culot candélabre E14 — fournissez vos propres ampoules LED bougie blanc chaud (une par tête).
- Intérieur uniquement · nettoyez les abat-jour en lin avec une brosse douce ; nettoyez le métal avec un chiffon sec et doux.
Téléchargements
Questions fréquentes
Comment choisir entre 1, 2 et 3 bras ? +
La version 1 bras (∅ 5,1" × H 17,5") est la plus élancée — un abat-jour effilé unique qui s'élève verticalement depuis la rosace. Utilisez-la pour les murs de chevet, les couloirs, les murs étroits entre les portes, et les paires encadrant un miroir ou une console. Les versions 2 bras (∅ 13" barre horizontale) et 3 bras (∅ 16,1" barre horizontale) s'étendent horizontalement — mieux adaptées aux murs plus larges, aux miroirs de vanité, et aux installations symétriques de galerie.
À quelle hauteur dois-je l'installer ? +
Pour les murs de chevet et les couloirs, installez à 60–66" du sol fini au centre de l'applique. Pour une utilisation au-dessus d'un miroir, les versions 2 et 3 bras se centrent à 75–80" au-dessus du sol fini avec la barre au-dessus de la moitié du miroir. Pour les paires symétriques au-dessus d'une console ou d'une tablette de cheminée, centrez 6–9" au-dessus de la surface et espacez régulièrement de chaque côté.
La Hillsdale est-elle dimmable ? +
Oui, avec les bonnes ampoules. Chaque bras accueille une ampoule à culot E14. Installez des ampoules LED bougie dimmables sur un variateur TRIAC et l'applique s'assombrit régulièrement sur tous les bras. Le blanc chaud 2700K–3000K est recommandé pour le rendu flatteur de la lueur de l'abat-jour en lin que le design met en valeur.
Quel fini dois-je choisir ? +
Laiton poli (illustré) est le fini de transition classique — chaud, réfléchissant, convient aux parquets, murs crème et quincaillerie dorée. Noir mat ancre les schémas modernes, galerie et à fort contraste. Nickel brossé lit plus frais et apporte de la fraîcheur aux espaces côtiers, contemporains et aux murs pâles. Blanc disparaît dans le mur pour l'installation la plus discrète — idéal lorsque l'abat-jour en lin doit être le point focal.
Quelles ampoules faut-il et combien ? +
Une ampoule à culot E14 par bras — une pour la version 1 bras, deux pour la version 2 bras, trois pour la version 3 bras. Nous recommandons des ampoules LED bougie blanc chaud 2700K–3000K à 40W équivalent incandescence chacune. Évitez le blanc froid (5000K+) — il refroidit la teinte du lin et contraste avec les finitions métal chaud.
- Unique shape design
- Made responsibly
- High quality material
- Tested for durability
CARE
CARE
- Dust with a soft, dry cloth.
- To protect finish, we do not recommend the use of household cleaners or abrasives.
- Do not exceed specified wattage.
SHIPPING & RETURN POLICY
SHIPPING & RETURN POLICY
Enjoy free shipping on all products. With Front Door Delivery, your item ships from our Distribution Center via UPS within 2–3 business days and arrives at your home in 4–6 weeks. Eligible items may be returned within 30 days of receipt. Made-to-order items are not eligible for return.
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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
17Finishes 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.
Fast Shipping
4-6 weeks for delivery
North American Certification
North American Certification Overview
Safety Payment
Secure payment with Multiple Credit Cards.
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.
Size chart
| Size |
| area XS |
| Room XS |
| Size | DIA 2"-6" | DIA 6"-12" | DIA 12"-18" | DIA 20"-24" | DIA 24"-32" | DIA 32"-40" |
|---|---|---|---|---|---|---|
| area | 32-54 FT | 54-107 FT | 107-161 FT | 161-215 FT | 215-269 FT | 269-378 FT |
| Room | BATHROOM/AISLE | DINING ROOM | KITCHEN | BEDROOM | LIVING ROOM | COMMERCIAL INTERIOR |
* Sizes are American and expressed in inches.






















