Latão · Abajur Cônico em Linho · Arandela de Transição
Uma arandela de parede na linguagem clássica da iluminação transitória americana — uma placa de encosto quadrada em latão ancora uma barra horizontal da qual se estendem um, dois ou três braços, cada um terminando num abajur cônico em linho acima de um pequeno finial com borla. A composição é disciplinada e gráfica: um quadrado, um ou mais braços horizontais, cones suaves em tecido em cada fonte de luz.
O latão é acabado à mão — polido e brilhante nos topos dos braços, mais profundo nas reentrâncias onde a luz se reflete. Disponível em quatro acabamentos (Latão Polido, Preto Mate, Níquel Escovado, Branco) e três configurações (1, 2 ou 3 cabeças) para escalar desde um único destaque de cabeceira até uma arandela tripla para toucador amplo ou corredor. Adequada para paredes de cabeceira, pares em corredores, espelhos de toucador, camarins e pares flanqueando mesas de consolação em interiores transitórios, tradicionais e Hollywood Regency.
Características
Difusores de Linho Afilados
Abajures cilíndricos em linho cosidos à mão irradiam uma suave luz ascendente quente em cada braço.
Placa de Encosto em Latão Quadrada
Placa quadrada disciplinada que ancora uma barra horizontal — gráfica, arquitectónica, de transição.
1, 2 ou 3 Cabeças
Escalone desde um simples destaque de cabeceira até uma arandela tripla para toucador amplo.
Acabamento — Escolha na Compra
Latão brunido lacado
Ouro mel quente, como ilustrado — calor clássico transicional e tradicional.
Preto Mate
Preto mate suave para interiores modernos, de galeria e alto contraste.
Níquel Fosco
Tom de prata frio com acabamento escovado — fresco em ambientes costeiros e contemporâneos.
Branco
Branco acetinado limpo — desaparece em paredes pálidas para uma instalação mais discreta.
Metal acabado à mão & abajures de linho cônico. Cada peça é acabada manualmente — a variação subtil no tom e profundidade do polimento entre acabamentos faz parte do carácter artesanal. Os abajures de linho em leque são cosidos à mão e podem apresentar ligeira variação nas costuras. As versões de múltiplos braços são alinhadas em fábrica para simetria na barra.
Notas do Produto
P 13 × L 18 × A 44,5 cm
1 Cabeça · ∅ 5,1″ × L 7,1″ × A 17,5″
P 41 × L 18 × A 30,5 cm
3 Cabeças · ∅ 16,1″ × L 7,1″ × A 12″
| Materiais | Corpo de metal acabado à mão · Abajures cilíndricos de linho cônico |
| Acabamento | Latão Polido · Preto Mate · Níquel Escovado · Branco · escolha no checkout |
| Estilo | Arandela transicional americana · arquitectónica · placa de trás quadrada |
| Tamanho — 1 Cabeça | P 13 × L 18 × A 44,5 cm · ∅ 5,1″ × L 7,1″ × A 17,5″ |
| Tamanho — 2 Cabeças | P 33 × L 18 × A 30,5 cm · ∅ 13″ × L 7,1″ × A 12″ |
| Tamanho — 3 Cabeças | P 41 × L 18 × A 30,5 cm · ∅ 16,1″ × L 7,1″ × A 12″ |
| Placa de Trás | P 11 × A 11 cm · ∅ 4,3″ × A 4,3″ · quadrada |
| Tamanho do Difusor | P 15 × A 18 cm · ∅ 5,9″ × A 7,1″ · abajur cilíndrico de linho cônico |
| Base do Candeeiro | Casquilho E14 por braço · lâmpadas não incluídas |
| Lâmpadas Recomendadas | Lâmpada de vela LED branco quente 2700K–3000K, máximo 40W equivalente a incandescência cada |
| Temperatura de Cor | Depende da lâmpada escolhida · branco quente recomendado para o brilho do abajur de linho |
| Regulação | Compatível com lâmpada regulável e regulador TRIAC instalados |
| Tensão | CA 110–240V · universal |
| Montagem | Fiação de parede até caixa de emenda · a placa quadrada cobre a maioria das caixas de tomada simples americanas |
| SKU | RDW-160110 |
| Prazo de Entrega | Sob encomenda · consulte a estimativa no checkout |
| Ideal Para | Paredes junto à cama · Pares em corredores · Espelhos de toucador · Camarins · Pares flanqueadores acima de consolas · Interiores transicionais, tradicionais & Hollywood Regency |
Instalação
- Fiação de parede até caixa de emenda padrão — recomenda-se instalação profissional.
- Placa quadrada de trás (P 11 × A 11 cm) cobre a maioria das caixas de tomada simples americanas; verifique antes de fazer furos.
- Para paredes junto à cama e corredores, instale a versão de 1 cabeça a 60–66″ acima do piso acabado.
- Para uso em toucadores, coloque a barra de 2 ou 3 lâmpadas acima do ponto central do espelho a 75–80″ do piso acabado.
- Para pares flanqueadores acima de uma consola ou cornija, instale arandelas simples combinadas uniformemente de cada lado a 6–9″ acima da superfície.
- Cada difusor de linho encaixa-se na sua haste de suporte de lâmpada — instale as lâmpadas primeiro, depois encaixe os difusores.
- Compatível com lâmpadas de base E14 — forneça suas próprias lâmpadas LED vela branco-quente (uma por lâmpada).
- Apenas interior · limpe as abat-jours de linho com escova macia; limpe o metal com pano macio e seco.
Transferências
Perguntas Frequentes
Como escolho entre 1, 2 e 3 cabeças? +
A versão de 1 lâmpada (∅ 5,1″ × A 17,5″) é a mais esbelta — um abat-jour único afilado que se ergue verticalmente a partir da placa de parede. Use-a em paredes junto à cama, corredores, paredes estreitas entre portas e para flanquear pares de cada lado de um espelho ou consola. As versões de 2 lâmpadas (barra com ∅ 13″) e 3 lâmpadas (barra com ∅ 16,1″) estendem-se horizontalmente — melhores para paredes mais largas, espelhos de toucador e instalações flanqueadoras ao estilo galeria.
A que altura devo instalar?
Para paredes junto à cama e corredores, instale a 60–66″ do piso acabado até ao centro da arandela. Para uso em toucador acima de um espelho, as versões de 2 e 3 lâmpadas centram-se a 75–80″ acima do piso acabado com a barra atravessando o ponto central do espelho. Para pares flanqueadores acima de uma consola ou cornija de lareira, centre a 6–9″ acima da superfície e espaçador uniformemente de cada lado.
O Hillsdale é regulável em intensidade?
Sim, com as lâmpadas certas. Cada lâmpada utiliza uma lâmpada de base E14. Instale lâmpadas LED vela reguláveis num regulador de parede TRIAC e a arandela regula-se suavemente em todas as lâmpadas. Recomenda-se branco-quente 2700K–3000K para o brilho lisonjeiro do abat-jour de linho em que o design se baseia.
Que acabamento devo escolher?
Latão Polido (ilustrado) é o acabamento clássico transicional — quente, reflexivo, combina com pavimentos de madeira, paredes creme e ferragens em tom de latão. Preto Acetinado ancora esquemas modernos, galerias e de alto contraste. Níquel Escovado parece mais fresco e é elegante em espaços costeiros, contemporâneos e com paredes claras. Branco desaparece na parede para a instalação mais discreta — ideal quando o abat-jour de linho deve ser o destaque.
Que lâmpadas utiliza e quantas?
Uma lâmpada de base E14 por lâmpada — uma para a versão de 1 lâmpada, duas para a de 2 lâmpadas, três para a de 3 lâmpadas. Recomendamos lâmpadas LED vela branco-quente 2700K–3000K com equivalente de 40W incandescente cada. Evite luz do dia (5000K+) — torna o tom do linho mais frio e contrasta com os acabamentos em metal quente.
- Design de forma única
- Fabricado com responsabilidade
- Material de alta qualidade
- Testado quanto à durabilidade
MANUTENÇÃO
MANUTENÇÃO
- Limpe com um pano macio e seco.
- Para proteger o acabamento, não recomendamos o uso de limpadores domésticos ou abrasivos.
- Não exceda a potência especificada.
POLÍTICA DE ENVIO E DEVOLUÇÃO
POLÍTICA DE ENVIO E DEVOLUÇÃO
Aproveite o envio gratuito em todos os produtos. Com Entrega à Porta, o seu artigo é enviado do nosso Centro de Distribuição via UPS dentro de 2-3 dias úteis e chega à sua casa em 4-6 semanas. Os artigos elegíveis podem ser devolvidos no prazo de 30 dias após receção. Os artigos personalizados não são elegíveis para devolução.
10%
OFF
Use this code at checkout to enjoy a 10% discount on your entire purchase.
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.
Envio Rápido
4-6 semanas para entrega
Certificação da América do Norte
Descrição Geral da Certificação da América do Norte
Pagamento Seguro
Pagamento seguro com múltiplos cartões de crédito.
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.
Tabela de tamanhos
| Tamanho |
| Área XS |
| Divisão XS |
| Tamanho | DIÂM. 2"-6" | DIÂM. 6"-12" | DIÂM. 12"-18" | DIÂM. 20"-24" | DIÂM. 24"-32" | DIÂM. 32"-40" |
|---|---|---|---|---|---|---|
| Área | 32-54 PÉS2 | 54-107 PÉS2 | 107-161 PÉS2 | 161-215 PÉS2 | 215-269 PÉS2 | 269-378 PÉS2 |
| Divisão | CASAS DE BANHO/CORREDOR | SALA DE JANTAR | COZINHA | QUARTO | SALA DE ESTAR | INTERIORES COMERCIAIS |
* Os tamanhos são americanos e expressos em polegadas.