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| Cristal Lighting Index |
 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. .  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. 5158-1-50 - Phoenicia Wall Sconce - A stylised wall sconce with a Mystic Silver finish, and Etruscan Glass accents. 6070-3 - Turin Alabaster Chandelier - This Turin chandelier features Cream Alabaster floating lamps, intricate details and decorations, and a classic masterfully replicated "Old Master" patina varnish-rubbing technique.
Note:  6357-78 - Iris Pendant - The Iris FamilyThe Iris pendant is rendered in Venetian tradition, where the Murano artisans had continued for centuries to demonstrate an in exhaustible creativeness, especially in the colorful glass art for which they were world famous. When the lyre fame was popular during the mid 18th century, the glass houses produced large festive chandeliers gaily dressed with brilliantly coloured glass accents. The visual fantasy of the iris pendant captures this spirit, which is further enhanced by the swirling tendrils, gold accents and delicate hand painted banded. The hand blown glass shade was introduced during the 18th century. The design, of English origin, was intended to diffuse candlelight. This shape with a slight inward turning of the upper lip remained popular to the mid 19th century for gas lighting. The shades present a perfect foil for the rich exuberant ornamentation. .  6480-5-16 - Belmira Large Pendant - This bowl pendant has leaf-shaped accents and a Toasted Sienna Finish. 690-6 - Versailles Lorraine Chandelier - This 6-light chandelier has the typical density and richness of the crystal lustres installed in the mid-17th century in France. They would become world-famous and be regarded as templates for reproduction pieces to our time. The combining of a variety of prism shapes had originated a half-century earlier in Italy, but Baroque France was more generous in the number of prisms hung and projected the desired fantasy of prismatic colors. Another French Baroque characteristic is the split socket, here cleverly formed into anthemion, which facilitates the insertion and removal of a candle.Note:  6198-6 - Somerset Iron Chandelier - The history of lighting fixtures provides a wealth of sources for design inspiration, as exemplified by this 6-light wrought iron Somerset chandelier. For the creative mind, no one period should be overlooked. The concept of removable hanging lanterns 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 supports and glass shades resembling wrapped parchment. The result becomes a truly unique contemporary fixture.Comes in a Golden Graphite finish with Frost Clear Ice glass. Note:  5045-1 - Glencoe Alabaster Wall Sconce - This Glencoe wall sconce immediately recalls the overall design of a typical French Empire oil burning lustre. The distinct angularity and low-relief surface ornamentation of the Antique Silver supporting arm recalls characteristics more commonly associated with the Art Deco period. The unexpected, yet sophisticated combination of these two unrelated design sources confirms that in the hands of a competent designer, obvious refrences to familiar design of the past can be creatively married into a timeless statement for today. Comes in an Antique Silver finish and White Alabaster. Note:  671-3 - Versaille Antoinette Wall Sconce - This 3-light wall sconce demonstrates the move away from the weighty and dense designs of the reign of Louis XIV with its new lyre-shaped framework. The lightness and transparency of this new style allowed for light to pass through the sconce, while at the same time revealing all the hand-cut crystal pendants. The delicacy of the fixture in combination with the gently lyre curves of the framework suited the new look of the Rococo and remained a very popular style of crystal fixture to the end of Louis XVI's reign. Note:  631-12 - 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.
Note: Bulbs not included with this fixture.  646 - Savona Iron Pendant - The design for this wrought iron pendant immediately suggests a contemporary interpretation of the early 20th century Art Nouveau style. A sense of rhythm is achieved through the combination of curving lines and spiraling forms. The realistic leaf motif is also very characteristic of the new art aesthetic of that time, which relied so heavily on the inspiration of botany. Finally, the fixture is handcrafted and the glass hand blown, whereby it becomes an individual work of sculptural art.Comes in a Graphite finish with Gold Leaf accents and Frost Clear Ice glass. Note:  590-1-78 - Iris Left Sconce - The Iris FamilyThe Iris one-light wall bracket is rendered in Venetian tradition, where the Murano artisans had continued for centuries to demonstrate an in exhaustible creativeness, especially in the colorful glass art for which they were world famous. When the lyre fame was popular during the mid 18th century, the glass houses produced large festive chandeliers gaily dressed with brilliantly coloured glass accents. The visual fantasy of the iris sconce captures this spirit, which is further enhanced by the swirling tendrils, gold accents and delicate hand painted banding. The hand blown glass shades were introduced during the 18th century. Their design, of English origin, was intended to diffuse candlelight. This shape with a slight inward turning of the upper lip remained popular to the mid 19th century for gas lighting. The shade presents a perfect foil for the rich exuberant ornamentation. See the related products for the matching Iris Right Sconce. .  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.
 551 - Talleyrand Alabaster Wall Sconce - An early 19th century silhouette, enriched by the application of ancient Roman ornament revived at the time of Napoleon, boldly distinguishes this Talleyrand wall sconce. The fixture's vigorous spiraling torch handle and other decorations speak to the strength and masculinity associated with the military during the period of the French Empire.Comes in a Bronze Oxide finish with Carmel Alabaster. Note:  557-3 - Marxberry Left Vertical Vanity - Emulating flourishing vines, water plants and root systems, the curvilinear forms in this 3-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: 557-3 - Marxberry Left Vertical Vanity - Emulating flourishing vines, water plants and root systems, the curvilinear forms in this 3-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:  539 - Debeney Iron Wall Sconce - This Debeney wrought iron wall sconce expresses imagination and individuality in an elegant yet sculptural profile. The design contrasts the smooth curves of the amber scavo glass with the naturalistic meandering of the leafy vine sporting pecans in their various stage of growth. The combination of sleek glass shapes and hand crafted metal ornament results in a delightful image of individual artistic expression.Comes in an Autumn Pecan finish and Amber Scavo glass. Note:  6303-34 - Constantine Pendant - 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 family 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. .  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.
 6214-3 - Brussels Chandelier - Echoing the forms of trailing vines, water plants and root systems, the curvilinear forms of this 3-light chandelier'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:  580-2-26 - Scarlatti Two-Light Wall Sconce - Although the decorative style of a wall bracket is incidental to its purpose, its design should be compatible with and enhance the interior of the space where it is installed. This Scarlatti two-light wall sconce defies a specific stylistic classification, yet its overall character is unquestionable traditional in spirit. It is an eclectic assemblage of classical and exotic motifs, sinuous curves, anthemion and acanthus leaves, and swirling golden glass, all artfully combined to give visual delight in a richly appointed interior.Features a Burnished Bronze finish on Solid Brass with Gilded Murano glass. Note:  656 - Carlton Alabaster Semi Flush Mount - The overall French Empire configuration of scrolls and other decorations suggests that the design inspiration for this semi-flush ceiling mount comes from the increasingly popular gasoliers of the mid-19th century Europe. The functional components on oil lamps have become in themselves the decorative features of the ceiling mount, enhanced with additional surface ornamentation where needed. Comes in a Bronze Patina finish with Cream Alabaster. Note:  531-5 - Somerset Iron Vanity - The history of lighting fixtures provides a wealth of sources for design inspiration, as exemplified by this 5-light wrought iron Somerset vanity. For the creative mind, no one period should be overlooked. The concept of removable hanging lanterns 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 supports and glass shades resembling wrapped parchment. The result becomes a truly unique contemporary fixture.Comes in a Golden Graphite finish with Frost Clear Ice glass. Note: 531-5 - Somerset Iron Vanity - The history of lighting fixtures provides a wealth of sources for design inspiration, as exemplified by this 5-light wrought iron Somerset vanity. For the creative mind, no one period should be overlooked. The concept of removable hanging lanterns 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 supports and glass shades resembling wrapped parchment. The result becomes a truly unique contemporary fixture.Comes in a Golden Graphite finish with Frost Clear Ice glass. Note: |