 | Shop our complete selection of 523 Cristal Lighting Now! Or view More of our Stores |
| Cristal Lighting Index |
 557-2 - Marxberry Left Vertical Vanity - Emulating flourishing vines, water plants and root systems, the curvilinear forms in this 2-light left vertical vanity place this fixture at the zenith of the early 20th century Art Nouveau period in Europe. The controlled linearity of the sinuous plant-like forms have the exuberance of the original continental fixtures. The burst of creative energy of this period is amply captured in the visually exciting Marxberry vanity light.Note:  6216-3 - Brussels Multi-Light Pendant - Echoing the forms of trailing vines, water plants and root systems, the curvilinear forms of this 3-light pendant's arms place it at the zenith of the early 20th century Art Nouveau period in Europe. The controlled linearity of the sinuous plant-like forms have the exuberance of the original continental fixtures. There was a vogue for multiple downlights supported by metal arms fashioned in the shape of plant tendrils emanating from a single root. The advent of electric lighting had given designers much greater scope than before, and the burst of creative energy of this period is amply captured in the visually exciting Brussels family of fixtures.Comes in a Bronze Patina finish with Frost Scavo glass. Note:  6285 - Donatello Pendant - The Donatello FamilyThe Donatello pendant creatively blends two aesthetic influences into a comparable, unified whole. An outgrowth of the Arts and Crafts Movement, the Mission Style was characterized by relatively simple, functionalist design. At exactly the same time as the Mission Style flourished, so did the Art Nouveau style, immediately identified by the curving tendrils of iron, often integrated with flower and leaf motifs. .  631-2 - Bohemian Katerina Wall Sconce - This "dressed" or heavily draped 2-light wall sconce features multiple swags of crystal buttons.
Note:  5102-1 - Boheme Iron Wall Sconce - This natural lighting iron wall sconce is a creative blend of line with form, resulting in a contemporary interpretation of fundamental materials. The curved molding of the iron adds softness to an otherwise structural material. The manipulation of the translucent glass creates a delicate cylindrical form that is a wonderful contrast to the characteristics of the iron base. The minimalist approach to the design, blended with the natural concept, creates an illuminated sculpture that supports a sustainable philosophy of design.Comes in a Rustic Iron finish with Arctic Frost glass. Note:  512 - Montcalm Wall Sconce - This Montcalm cast wall sconce is directly inspired by the traditional Spanish corona de luz or "crown of light". This fixture is representative of the decorative treatment of the late 18th century, the period of Neoclassicism, whereby the ornamentation of the fixtures became very refined and the use of candle shades a realistic option.Note:  651-1 - Maria Theresa Wall Sconce - This Maria Theresa wall sconce, as it is still universally known, is a style identified with the 18th century Empress of Austria. Typical of the foreign aristocracy making a state visit to France, and in particular to the Palace of Versailles, the Empress was both awed and enchanted by the magnificent crystal chandeliers of Louis XV's court. Although there were only a few chandelier craftsman in France and they were almost all exclusively patronized, the Empress was able to assert her power to have similar models made and installed in her palaces in Vienna.Note:  6469-1 - Lafayette Mini Pendant - The Lafayette mini pendant features a Toasted Sienna with Golden Fawn finish. The silhouette of the Lafayette fixtures illustrates the break from the formal, compass curved outlines of the French Baroque period. The applied foliage decoration, in the form of inverted acanthus leaves have been purposely given a golden finish. Traditionally, the gilding of exquisite metal details on chandeliers was not only to accent them but also to prevent their tarnishing. Contemporary finishes on any metal today can inhibit this process, but the allure of gold for its decorative enrichment will never go out of style.
with this fixture.  5171 - Octavia Wall Sconce - The Octavia 35½” wall sconce features a Mystic Silver finish. The support for the flared glass shade on the Octavian wall sconce is a highly stylized interpretation of one of the earliest forms of artificial lighting known to man. Rushlights or firesplints, which were torches of bundled reeds or twigs, would have their ends soaked in an animal oil or natural pitch. They could be hand held, mounted on protruding spikes, or even, as depicted in an ancient Roman mural, attached to a band around the head so that it was possible to move about at night keeping the hands free for more useful occupations.
Note: Bulb not included with this fixture.  5028-1 - Marlena Alabaster Wall Sconce - An enchanting female siren/mermaid figure enhances this Empire-inspired wall sconce with an elegantly banded float lamp. The figure decorating the central shaft is the direct result of the late 18th century's interest in classical motifs.
Note:  579-2-34 - Constantine Two-Light Wall Sconce - The Constantine FamilyAt the turn of the 20th century, advances in electric lighting coincided with the Art Nouveau movement. One historian has stated that this happy concurrence resulted in “the single most creative period in the annals of domestic lighting." Glass shades concealing the glairing filaments of early clear glass bulbs could now be mounted in any upward or downward direction. The Constantine two-light wall bracket demonstrates that both approaches could be taken with the shade which is supported by arms inspired by curvilinear design characteristics of the New Art. The dominant motif, however, is the cluster of anthemion, a historic Greek and Roman motif that was also used in a vertical or downward direction. The harmonious integration of this ancient motif of stylized honeysuckle flowers with the curving linearity of the supporting arms captures the creative spirit exhibited in the design of the early 20th century lighting fixtures. .  6361 - Dandelion Chandelier - A spark of design genius combined with a fascination with geometry in nature was needed to create the Dandelion chandelier. A contemporary interpretation of the explosion of ripe seeds, the fixtures capture the fragility and temporal quality of the mature flower. At once both visually striking and decoratively playful, the Dandelion chandelier illustrates the constructive co-existence of high style craftsmanship and contemporary technology.Available with six or ten lamps, and features Chrome finish with Clear and White Mottled glass. . 6361 - Dandelion Chandelier - A spark of design genius combined with a fascination with geometry in nature was needed to create the Dandelion chandelier. A contemporary interpretation of the explosion of ripe seeds, the fixtures capture the fragility and temporal quality of the mature flower. At once both visually striking and decoratively playful, the Dandelion chandelier illustrates the constructive co-existence of high style craftsmanship and contemporary technology.Available with six or ten lamps, and features Chrome finish with Clear and White Mottled glass. .  553 - Rhyton Wall Sconce - This eclectic Rhyton iron wall sconce is a creative assemblage of a variety of parts from the past, creating a unique fixture for today, but with an overall appearance of being historic or traditional. The solid "S" or "C" scrolled arm was typical of the Flemish chandeliers of the 16th century. Decorative, draped chains date back to early Byzantine times, and rosettes appeared on eary Gothic cathedral ceilings in England. The metal and glass shade resemble the drinking vessels of trumpet and horn shapes dating from Assyrian, Minoan, and Greek civilizations. The love of a gold finish has remained a constant throughout history. Comes in a Venetian Gold finish with Golden Wash glass. Note:  558-2 - Marxberry Right Vertical Vanity - Emulating flourishing vines, water plants and root systems, the curvilinear forms in this 2-light right vertical vanity place this fixture at the zenith of the early 20th century Art Nouveau period in Europe. The controlled linearity of the sinuous plant-like forms have the exuberance of the original continental fixtures. The burst of creative energy of this period is amply captured in the visually exciting Marxberry vanity light.Note: 558-2 - Marxberry Right Vertical Vanity - Emulating flourishing vines, water plants and root systems, the curvilinear forms in this 2-light right vertical vanity place this fixture at the zenith of the early 20th century Art Nouveau period in Europe. The controlled linearity of the sinuous plant-like forms have the exuberance of the original continental fixtures. The burst of creative energy of this period is amply captured in the visually exciting Marxberry vanity light.Note:  665-3 - Bohemian-Marien Three Lamp Wall Sconce - The great dressed fixtures of the late Georgian period in England, of which the Bohemian-Marien fixtures are a superb example, were the height of luxury at the time, being both very expensive and intricate in their production. After their installation, the work involved in maintaining this means of lighting the domestic interior was laborious. Candles had to be continuously replaced, or trimmed and straightened after every lighting, and each bobeche and their adjacent spattered crystals cleared of wax, washed and polished. Only those in the higher levels of society could afford staff especially employed for this purpose. Specifically, a “lamp and candle man” was hired to maintain the lighting arrangements, and a small room, the “lamp and candle room” was required in the residence where all the materials and equipment for this task were kept. Today, electric lighting contributes to the minimal upkeep required to maintain the dressed crystal fixtures without compromising their sumptuous beauty.
 6421-1 - St. Laurent Mini Pendant - The St. Laurent Wrought Iron mini pendant features a Burnt Ochre finish. The St. Laurent fixtures defy specific historic classification, but rely on period terminology to describe the impression one has when viewing these magnificent pieces of sculpture. Curving Tudor strapwork is uniquely assembled into a bold Baroque statement of continuous rhythm, generating a visual excitement rarely experienced in a lighting fixture since the 17th and 18th centuries. The glass shades contribute to the expression of vigorous movement, reflecting their original molten state of becoming. The unified design statement made by the impressive St. Laurent fixtures is one of a robust, visually expressive and animated conception.
Note: Bulb not included with this fixture.  630-5 - Bohemian Katerina Chandelier - The “dressed chandelier” made its appearance after 1740. The English in particular favored heavily-draped fixtures with multiple swags of crystal buttons, for it was the skillful pastime of stylish ladies to redress the swags and pendants in different arrangements. When new prism shapes were introduced, chandeliers were often redressed in the latest fashionable taste.
 6482-3-16 - Belmira Large Foyer Pendant - This foyer/entry light is decorated with leaf-shaped accents and has a Toasted Sienna finish. 597-1-21 - Maria Assunta Sconce - The Maria Assunta FamilyThe fascination with the Maria Assunta wall bracket lies in the uniqueness of the shade. It is the shade that appears to be in the evolution of becoming, a shade that is still in the preliminary state of molten glass, being slowly formed into a design that is still in the artist’s mind. Once regarded as a substitute of the semi-precious stones, glass making evolved in the eastern Mediterranean between 2500 and 1500 BCE. When glass blowing was discovered, it was transformed into an incredible diversity of useful objects. The Maria Assunta shades demonstrate the continuing exploration of the design potential of glass. .  665-2 - Bohemian-Marien Dual Lamp Wall Sconce - The great dressed fixtures of the late Georgian period in England, of which the Bohemian-Marien fixtures are a superb example, were the height of luxury at the time, being both very expensive and intricate in their production. After their installation, the work involved in maintaining this means of lighting the domestic interior was laborious. Candles had to be continuously replaced, or trimmed and straightened after every lighting, and each bobeche and their adjacent spattered crystals cleared of wax, washed and polished. Only those in the higher levels of society could afford staff especially employed for this purpose. Specifically, a “lamp and candle man” was hired to maintain the lighting arrangements, and a small room, the “lamp and candle room” was required in the residence where all the materials and equipment for this task were kept. Today, electric lighting contributes to the minimal upkeep required to maintain the dressed crystal fixtures without compromising their sumptuous beauty.
 6199-1 - Somerset Iron Pendant - The history of lighting fixtures provides a wealth of sources for design inspiration, as exemplified by this wrought iron Somerset pendant. For the creative mind, no one period should be overlooked. The concept of a removable hanging lantern can be traced to the late 15th century in Tudor England. Added to this concept is a flourish of Art Nouveau linearity in the iron support and glass shade resembling wrapped parchment. The result becomes a truly unique contemporary fixture.Comes in a Golden Graphite finish with Frost Clear Ice glass. Note:  5213-2-33 - Luciana 2-Light Wall Sconce - A neo-classical 2-light wall sconce with bronze leaf and crystal accents and a St. Regis Bronze finish. 5173 - Rosette Wall Sconce - The Rosette 15¼” Wrought Iron wall sconce features a Golden Antiqua finish. The Rosette wall sconce is a brilliant, eclectic combination of traditional and classical details popularized in furnishings, tableware and accessories between 1770 and 1830 in Europe. An Acanthus leaf overlays the delicately fluted armature support. The most interesting period detail is what gives the fixture its name. The inclusion of the rosette, a circular patera with formalized rose-like petals, terminates the scrollwork. Roman in origin, and favored by the Adam Brothers in late 19th-century England, the patera is a small circular or elliptical, relatively flat ornament with radiating petals or leaves.
with this fixture. |