Laiton antique · Globe en verre blanc · Semi-encastré mid-century
Un luminaire plafond semi-encastré dans le langage de l'éclairage mid-century américain des années 1950–60 — une colonne en laiton empilée s'élève du baldaquin à travers une petite sphère, une sphère plus grande et un large disque en forme de soucoupe, avec un globe en verre opalin blanc suspendu juste en dessous. La composition est sculpturale plutôt qu'architecturale : chaque élément est une forme géométrique distincte, l'ensemble se lisant comme un petit totem en bronze accroché près du plafond.
Le corps en laiton est fini à la main dans un ton laiton antique chaleureux — brillant sur les surfaces polies, plus profond aux recoins où la lumière joue. Le globe en verre opalin diffuse la lumière uniformément sans éblouissement, créant un doux pool de lumière ambiante vers le bas. Parfait pour les halls d'entrée, les couloirs, les chambres principales, les dressing-rooms et les séjours — particulièrement dans les espaces à plafond bas (8 pieds et moins) où un lustre suspendu serait envahissant.
Caractéristiques
Forme empilée en laiton
Colonne sculpturale de sphères en laiton empilées et disque en soucoupe — géométrie mid-century distincte.
Globe en verre opalin
Le verre opalin blanc diffuse la lumière uniformément sans éblouissement — doux pool de lumière ambiante vers le bas.
Profil semi-encastré
Chute compacte de 26,5 cm (10,4″) au total convient confortablement aux plafonds de 8 pieds+ — pas de problème de hauteur de lustre.
Laiton antique fini à la main. Le corps en laiton est fini à la main — une légère variation de ton, de profondeur de polissage et de patine entre les pièces fait partie du caractère artisanal, ce n'est pas un défaut. Le globe en verre opalin est soufflé à la main, ainsi une légère variation d'épaisseur de paroi est attendue et n'affecte pas la qualité de la diffusion lumineuse.
Notes du Produit
∅ 25,5 × H 26,5 cm
∅ 10″ × H 10,4″ · Semi-encastré
| Matériaux | Corps en laiton massif · Globe en verre opalin soufflé à la main |
| Finition | Corps en laiton antique · Globe en verre opalin blanc |
| Style | Mid-century moderne · sculpturale · luminaire plafond semi-encastré |
| Dimensions | ∅ 25,5 × H 26,5 cm · ∅ 10″ × H 10,4″ |
| Culot | Douille G9 · 1 ampoule · non incluse |
| Ampoules recommandées | Blanc chaud 2700K–3000K G9 LED, équivalent incandescence max 40W |
| Température de couleur | Dépend de l'ampoule choisie · blanc chaud recommandé pour la lueur du verre opalin |
| Variation d'intensité | Compatible si une ampoule LED G9 dimmable et un variateur TRIAC sont installés |
| Tension | AC 110–240V · universel |
| Fixation | Semi-encastré câblé · boîte de jonction plafond standard · le baldaquin se monte serré au plafond |
| SKU | RDC-194112 |
| Délai de livraison | Fabrication sur commande · veuillez consulter l'estimation à la caisse |
| Idéal pour | Halls d'entrée · Couloirs · Chambres principales · Dressing-rooms · Séjours · Pièces à plafond bas (8 pieds+) · Intérieurs mid-century moderne, transitionnel & contemporain |
Installation
- S'installe semi-encastrée à une boîte de jonction plafond standard — installation professionnelle recommandée.
- Le baldaquin en laiton se monte serré au plafond — aucune chaîne ni ajustement de tige nécessaire.
- La chute totale est de 26,5 cm (10,4″) depuis le plafond — confortable pour les plafonds de 8 pieds (240 cm), idéal pour 9 pieds+.
- Installez le globe en verre opal en dernier — encastrez-le dans l'anneau après avoir installé l'ampoule.
- Reçoit une ampoule G9 simple — fournissez votre propre ampoule G9 LED blanc chaud.
- Intérieur uniquement · nettoyez le laiton avec un chiffon doux et sec ; nettoyez le globe en verre avec un chiffon humide et séchez immédiatement.
Téléchargements
Questions fréquentes
Pour quelle taille de pièce le Sasco est-il adapté ? +
Avec un diamètre de ∅ 25,5 cm × H 23 cm, il convient parfaitement aux couloirs de 6–10 m², aux chambres principales et aux foyers d'entrée de 10–18 m², ainsi qu'aux dressing-rooms ou petits espaces de vie. Son diamètre compact et son profil semi-encastré le rendent idéal pour les schémas d'éclairage en couches — associez-le avec des lampes de table ou des appliques murales plutôt que de le considérer comme la seule source d'ambiance pour les grandes pièces.
Fonctionnera-t-il dans une pièce avec plafond bas ? +
Oui — le Sasco est essentiellement un luminaire semi-encastré. La chute totale du plafond à la base du globe est de 26,5 cm (10,4″), plus courte qu'une suspension ou un lustre traditionnel. Il s'adapte confortablement aux plafonds de 240 cm (8 pieds) et convient parfaitement aux couloirs, petites chambres et pièces où une chute plus longue paraîtrait intrusive.
Le Sasco est-il gradable ? +
Oui, avec la bonne ampoule. Le luminaire accepte une ampoule à culot G9. Installez une LED G9 gradable sur un variateur mural TRIAC et la lumière s'atténue en douceur. Un blanc chaud 2700 K–3000 K est recommandé pour mettre en valeur à la fois le laiton antique et la diffusion en verre opal.
Quel type de lumière émet-elle ? +
Le globe en verre opal diffuse l'ampoule de façon homogène, créant un pool d'ambiance doux vers le bas — délicat, résidentiel, sans éblouissement agressif. La soucoupe en laiton au-dessus du globe capture et réfléchit aussi la lumière chaude, ajoutant un léger halo de remontée lumineuse sur le plafond. Idéal pour l'ambiance et l'éclairage ambient ; associez avec un éclairage de travail si vous avez besoin de lumière directe pour un plan de travail.
Quel type d'ampoule utilise-t-elle ? +
Une ampoule à culot G9 (petit culot bibroche, courant dans les luminaires modernes). Nous recommandons une LED blanc chaud 2700 K–3000 K équivalente à 40 W d'incandescence. Évitez la lumière du jour (5000 K+) — elle refroidit le ton du laiton antique et crée un décalage avec la palette mid-century chaleureuse.
Le laiton est-il réel ? +
Oui — le corps est en laiton massif, fini à la main dans une teinte antique. Ce n'est pas de l'acier plaqué ou du composite. Le laiton véritable développe naturellement une patine subtile au fil des années, ce qui fait partie de son caractère mid-century. Nettoyez uniquement avec un chiffon doux et sec ; évitez les nettoyants commerciaux pour laiton, qui enlèvent la finition antique.
- 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.
