{"id":406714,"date":"2023-03-31T12:00:00","date_gmt":"2023-03-31T16:00:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=406714"},"modified":"2023-03-31T16:11:18","modified_gmt":"2023-03-31T20:11:18","slug":"1stdibs-50-2023-chandeliers","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/1stdibs-50-2023-chandeliers\/","title":{"rendered":"Chandeliers Take a Starring Role in These Alluring 1stDibs 50 Projects"},"content":{"rendered":"
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\"Studio
Photo by Stephen Kent Johnson<\/figcaption><\/figure><\/div>\n\n\n

Many things give this dining room in a Trousdale Estates home in Los Angeles a strong personality \u2014 the striking ribbed cornicing, the deep blue de Gournay<\/a> silk wallpaper, the 1971 Harvey Quaytman painting Mirror to Damascus<\/em>. There’s also the almost totemic Wagneriana floor lamp designed by Massimo and Lella Vignelli<\/a> and the table and chairs in bird\u2019s-eye maple and satinwood veneer designed by Claggett Wilson in 1930 for the New York home of businessman and philanthropist Sam A. Lewisohn and his wife, Margaret.<\/p>\n\n\n\n

But the most spectacular item is undoubtedly the monumental glass chandelier imagined by Carlo Scarpa<\/a> and fabricated by M.V.M. Cappellin & Co.<\/a> in 1927. \u201cWe were looking for a dramatic sculptural punch of color,\u201d explains Studio Shamshiri<\/a> cofounder Pamela Shamshiri. \u201cPlus, the room is quite rectangular and horizontal. So, we wanted something to help bring the eye up and break the length of the space.\u201d<\/p>\n\n\n\n

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\"de
Photo by Peter Murdock<\/figcaption><\/figure><\/div>\n\n\n

Manhattan-based designer Ernest de la Torre<\/a> firmly believes that functional art is as important as fine art. A case in point is the limited-edition CL Arctic II chandelier by Dutch designer Frederik Molenschot that has pride of place in the dining area of a New York apartment he crafted in a 19th-century factory building just steps from the Hudson River. <\/p>\n\n\n\n

The fixture\u2019s hammered-bronze metalwork provides a perfect counterpoint to the space\u2019s coarse red-brick walls. \u201cI love the rhythm of its curves,\u201d says de la Torre. \u201cIt reminds me of a musical note. And it\u2019s always inspiring to see a material that is inherently difficult to turn twisted so effortlessly.\u201d He also appreciates the warm light reflected from the gold leaf in its cups.<\/p>\n\n\n\n

De la Torre paired the chandelier with a custom table made of reclaimed redwood inlaid with turquoise, as well as a set of bespoke chairs in pen-shell-clad fiberglass, which are partly upholstered in leather from Poulain in Paris. \u201cThey had just the right shade of gold to go with the chandelier,\u201d he says.<\/p>\n\n\n\n

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\"NICOLEHOLLIS
Photo by Douglas Friedman<\/figcaption><\/figure><\/div>\n\n\n

It\u2019s not every home office that has a chandelier originally created for the Ch\u00e2teau de Versailles<\/a>. But then, this is no run-of-the-mill house. It\u2019s a historic estate in San Francisco\u2019s Haight-Ashbury district, where Jack London once lived and on whose top floor musicians like the Grateful Dead and the Steve Miller Band later rehearsed and recorded. Designer Nicole Hollis<\/a> describes it as \u201ca psychedelic design journey . . . that embodies the [current] owners\u2019 avant-garde vision while continuing San Francisco\u2019s artistic heritage.\u201d<\/p>\n\n\n\n

This space was deliberately designed to be more serene, with its stained-teak desk and vintage Ward Bennett<\/a> ash and cane chair. \u201cThe client wanted it to be a reprieve from some of the other, more colorful rooms of the home,\u201d explains Hollis. Still, the Takashi Murakami<\/a> stained-glass Flower lamp adds a certain visual punch. It was originally displayed as part of the artist\u2019s retrospective at Versailles in 2010. \u201cLighting by him is very rare,\u201d notes Hollis. \u201cSo, coming across this piece was very exciting. I love seeing his iconic smiling flower in 3D. The super-happy and playful personality is a beacon of joy.\u201d<\/p>\n\n\n\n

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\"Ries
Photo by Lesley Unruh<\/figcaption><\/figure><\/div>\n\n\n

When decorating this vertiginously high-ceilinged entry hall in a home on the eastern tip of Long Island, Ries Hayes<\/a> cofounder David Ries and studio director Emily Meroney had to address the issue of scale. They painted the walls in warm tones (Herbal Escape from Benjamin Moore) to prevent it from feeling too cavernous. They also chose a chandelier that would occupy the space and give it a more human dimension. \u201cWe needed a tall piece, which we were able to drop even lower with the help of our electricians and lighting-restoration team, who modified the chain,\u201d explains Meroney.<\/p>\n\n\n\n

They found this one, made in Sweden in the 1930s of brass with opaline-glass shades, at MORENTZ<\/a>. Although no information is available about its designer, it is known to have hung in the interior of a municipal building. Underneath it here, Ries and Hayes placed a 1980s forged-iron and black-granite table by Bob Bray and a set of 1960s British benches to which they added cushions upholstered in raffia.<\/p>\n\n\n\n

And they couldn’t resist sharing their find. \u201cWe loved the chandelier so much that we actually purchased its mate for another client,\u201d recounts Ries.<\/p>\n\n\n\n

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\"McAlpine
Photo by Tim Lenz<\/figcaption><\/figure><\/div>\n\n\n

\u201cThis is an unusual space, as it is located without direct windows or views to nature,\u201d says McAlpine<\/a> principal Ray Booth<\/a>, describing the dining room of a Nashville home. To redress those lacks, he brought a bit of the outdoors inside in the form of an elaborate forged-iron and crystal chandelier from Cox London with olive-leaf-like elements. \u201cThe organic shape became a great focus to the room,\u201d he says. \u201cIts verticality worked well too, as the room is fairly square in proportion.\u201d<\/p>\n\n\n\n

In contrast to the rectilinear space, the furnishings are characterized by curves, whether the round Astrid table from Troscan, with its antique bronze base, the Bruno Booth bench<\/a> from Costantini Design<\/a> or the Linden dining chairs from Stewart Furniture.<\/p>\n\n\n\n

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\"Young
Photo by Jacob Snavely<\/figcaption><\/figure><\/div>\n\n\n

This Manhattan apartment \u201cmarries a breezy California sentiment with traditional Deco<\/a> and a Park Avenue refinement,\u201d says its designer, Young Huh<\/a>. The dining room is certainly a textbook example of how to combine elements in a fine equilibrium. It most notably brings together a hand-painted silk wallpaper by Fromental with a drop-dead vintage Murano<\/a> chandelier in amber and clear glass from Adesso Imports<\/a>.<\/p>\n\n\n\n

\u201cWe were looking for something that felt glamorous and was a big moment,\u201d explains Huh. \u201cThe wallpaper has a softness and serenity to it. So, we liked the tension of adding something a little bolder, stronger.\u201d The fixture\u2019s verticality was also key. \u201cIt adds to the grandness of the room,\u201d she notes.<\/p>\n\n\n\n

So do the custom chairs and hammered-brass credenza, the Keith Fritz dining table, the antique rug from Doris Leslie Blau<\/a> and the 1970s Maison Charles<\/a> table lamp from Bernd Goeckler Antiques<\/a>.<\/p>\n\n\n\n

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\"Gachot
Photo by Nicole Franzen<\/figcaption><\/figure><\/div>\n\n\n

For John Gachot<\/a>, encountering Studio Drift\u2019s Fragile Future chandelier was a case of love at first sight. \u201cThis is more than a chandelier, it\u2019s a sculpture,\u201d he says. \u201cThe aesthetic is strong yet delicate.\u201d It also proved to be the perfect counterpoint to the graphic elements in the dining room of a triplex in a late-19th-century building in New York’s Soho belonging to a client from the fashion industry. Those elements include Jason Martin’s moody 2017 artwork R\u00e9publique<\/em>, a custom Arno Declercq<\/a> table and a set of vintage dining chairs by i4 Mariani<\/a> for the Pace Collection<\/a>. They are joined by a spiky ceramic by Portuguese artist Bela Silva<\/a>, standing on a Fornasetti<\/a> cabinet.<\/p>\n\n\n\n

One thing that particularly fascinated Gachot was the way the light fixture was made. Real dandelion seeds are trapped inside a phosphorous bronze structure, which can be enlarged at will. \u201cNew circuits can always be added,\u201d he notes. \u201cIt can go on endlessly.\u201d<\/p>\n\n\n\n

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\"Nate
Photo courtesy of Nate Berkus Associates<\/figcaption><\/figure><\/div>\n\n\n

What is particularly striking about the pair of Sun Murano glass chandeliers in this Nate Berkus Associates<\/a>\u2013decorated dining room in Glencoe, Illinois, is the way they are hung. First, they are at a right angle to each other. \u201cSomething about placing them side by side in a straight row didn\u2019t feel right,\u201d explains Lauren Buxbaum Gordon, a partner at the firm and the lead designer on the project. \u201cHaving them perpendicular allows you to appreciate the details from multiple angles.\u201d Second, they are suspended at different heights. \u201cThat adds interest and helps the pendants waver between functioning as light fixtures and as art.\u201d <\/p>\n\n\n\n

The chandeliers, acquired from Galerie Glustin<\/a> at the Paris flea market, were chosen as a \u201cfunky, but necessary contrast\u201d to the James Mobley mural. \u201cI don\u2019t think the room would feel complete without them,\u201d says Buxbaum Gordon. \u201cThey add an edge.\u201d The other furnishings include a Matthew Cox table, a set of Easton dining chairs by And Objects<\/a>, a fluted giltwood mirror from Skelton Culver Stefflen<\/a> and a sculptural Swedish table lamp from Ponce Berga<\/a>. The ensemble makes a striking impact, just as the designer intended. As Buxbaum Gordon explains, \u201cThe dining room is situated in the front of the house. You see it both when you step through the front door and come down the stairs. So, we knew it had to be extra special.\u201d<\/p>\n\n\n\n

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\"Yellow
Photo by Brittany Ambridge<\/figcaption><\/figure><\/div>\n\n\n

For Elizabeth Graziolo, principal at Yellow House Architects<\/a>, working on a model unit in a landmark Art Deco<\/a> building was \u201ca once-in-a-lifetime opportunity,\u201d she relates. \u201cOur design concept was to create a space that paid homage to vintage, glamorous New York.\u201d She did so by juxtaposing contemporary with classical pieces. This dining area, at one end of the open living room, has more of the former, including a bespoke table fabricated by the Brooklyn-based millwork company Adam Wilk Inc. and a set of shagreen and patinated-bronze Melting chairs by R&Y Augousti<\/a>.<\/p>\n\n\n\n

Above them hangs a steel, aluminum and Lucite Phase chandelier from the Toronto-based studio Anony, whose design was inspired by the different phases of the moon. Graziolo chose it for a couple of reasons: \u201cWe found [its] asymmetrical shape over the traditionally designed burl-wood table intriguing. And it also brought a strong presence while allowing for an airy view of the entire space.\u201d<\/p>\n\n\n\n

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\"Michael
Photo courtesy of Michael Hilal<\/figcaption><\/figure><\/div>\n\n\n

Getting the vintage Verner Panton<\/a> chandelier from Formelibre<\/a>, in France, to where it now hangs, in the dining room of a new-build house in Hillsborough, California, was a true labor of love. \u201cIt\u2019s so very big and dense,\u201d says designer Michael Hilal<\/a>. \u201cSo, working out a way to transport it properly was a feat.\u201d Importation was also tricky, because it\u2019s made from shell. The whole process ended up taking some 13 months.<\/p>\n\n\n\n

For Hilal, it was well worth the effort. \u201cIt\u2019s pronounced and makes a statement \u2014 the right statement,\u201d he says of the fixture, which the legendary Danish designer conceived in 1960 for the Swiss firm J. L\u00fcber AG<\/a>. \u201cI wanted something that was visually impacting without dominating the space.\u201d He also loves the soft glow it emits (\u201cthe reflection of the pearled shell feels like candlelight\u201d) and the way it chimes when caressed by the wind. He decided to pair it with a custom quartz-topped table and bespoke chairs covered in a green Holland & Sherry suede, managing to do so in the nick of time. \u201cWe received it just two days before the house was finished,\u201d he recalls.<\/p>\n\n\n\n

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\"Ohara
Photo by Sam Frost<\/figcaption><\/figure><\/div>\n\n\n

When Ohara Davies-Gaetano<\/a> was commissioned to design a mountain escape on Flathead Lake in Montana, she faced something of a challenge \u2014 to create a kitchen for clients who don\u2019t really cook. Her solution was to imagine the space as more for gathering than for food preparation. To that end, she placed at its center a bespoke table, made from a slab of black walnut by a local workshop, in place of the customary island. She also opted not to have upper storage units and selected materials that harmonize with the architecture: The granite countertops echo the dark bronze tones of the windows and the natural oak of the cabinets blends with the wooden ceiling and column.<\/p>\n\n\n\n

Her choice of chandelier \u2014 a bespoke item made by Cox London from sheet metal and brass \u2014 adds to the illusion, hardly resembling your typical kitchen fixture. \u201cI liked its sculptural, organic nature and the idea of introducing a branch that creates a link to the natural environment,\u201d says Davies-Gaetano. \u201cIts asymmetry also works well in the space. It really invites the eye to travel.\u201d<\/p>\n\n\n\t

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Many things give this dining room in a Trousdale Estates home in Los Angeles a strong personality \u2014 the striking ribbed cornicing, the deep blue de Gournay silk wallpaper, the 1971 Harvey Quaytman painting Mirror to Damascus. There’s also the almost totemic Wagneriana floor lamp designed by Massimo and Lella Vignelli and the table and […]<\/p>\n","protected":false},"author":394,"featured_media":407135,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"2023-03-31T16:05:32Z","apple_news_api_id":"a4b07bb0-e4d6-4bf6-8821-372029772783","apple_news_api_modified_at":"2023-03-31T20:10:01Z","apple_news_api_revision":"AAAAAAAAAAAAAAAAAAAABQ==","apple_news_api_share_url":"https:\/\/apple.news\/ApLB7sOTWS_aIITcgKXcngw","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[15522073],"tags":[15550821,363633,15547823,15570268,15549980,15570266,15570064,5350263,9740573,15550076,15570265,15547941,15570269,15570267],"dibs-categories":[],"dibs-designs":[],"dibs-styles":[],"dibs-creators":[],"dibs-sellers":[],"class_list":["post-406714","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interiors","tag-1stdibs-50","tag-chandeliers","tag-ernest-de-la-torre","tag-gachot","tag-ian-phillips","tag-mcapline","tag-michael-hilal","tag-nate-berkus-associates","tag-nicolehollis","tag-ohara-davies-gaetano-2","tag-ries-hayes","tag-studio-shamshiri","tag-yellow-house-architects","tag-young-huh"],"acf":{"post_format":"article","subtitle":"Lighting 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