Suspensions Swag Greenfield

Disponibilité:

5 + en stock, prêt à être expédié

Disponibilité:

5 + en stock, prêt à être expédié

Disponibilité:

5 + en stock, prêt à être expédié

Disponibilité:

5 + en stock, prêt à être expédié

UGC MHP-SWAG0720-1

Quantité

CHF 195.00 - CHF 195.00

CHF 195.00

CHF 195.00 - CHF 195.00

CHF 195.00

Présentation

Ajoutez sans effort du charme vintage et un style moderne organique à n'importe quel coin de votre maison—sans câblage requis. Les Suspensions Swag Greenfield marient magnifiquement un riche chapeau en bois de noyer massif avec un superbe abat-jour extérieur en verre vert et un orbe intérieur opalin doux et lumineux. Suspendue par un cordon en tissu tressé classique, elle apporte instantanément texture, couleur et chaleur douillette à votre espace.

Finition Signature Corps couleur Noyer · Abat-jour vert · câble ajustable jusqu'à 150 cm / 59"

Couleur Noyer

Vert

Points forts du produit

Globe en verre vert bouteille

Un petit globe de 3,9" en verre vert de style apothicaire — d'une teinte suffisamment saturée pour être perçue comme un choix délibéré, assez douce pour ne pas rivaliser avec la lueur chaleureuse d'une ampoule G9.

Couverture en bois de noyer tourné

Un disque en noyer massif sert de canopée et d'ancrage visuel — le grain naturel du bois qui réchauffe le verre vert et ancre l'appareil dans les intérieurs de style campagnard ou fermier.

Hauteur de Suspension Réglable

500 cm / 196.9" de cordon vous permet de régler la hauteur parfaite pour n'importe quel plafond — au-dessus d'un comptoir, d'une table à manger ou d'une entrée — sans commander d'extension.

Dimensions

Diamètre de la couverture (bois de noyer) 22 cm / 8,7"

Diamètre de l'abat-jour en verre 10 cm / 3,9"

Hauteur de l'appareil 16 cm / 6,3"

Longueur du Cordon (ajustable) jusqu'à 500 cm / 196.9"

Conseil de dimensionnement : pour un comptoir de cuisine ou une table à manger, laissez environ 75–90 cm (30–36") entre le bas du globe en verre et la surface. Groupez 2–3 en rangée pour un long comptoir ou une table à manger plus large — l'empreinte réduite de 8,7" est conçue pour les grappes.

Détails

Source lumineuse

1 × culot G9 · 5 W max (ampoule non incluse)

Variateur

Compatible avec les ampoules G9 variateur

Longueur du Cordon

Jusqu'à 500 cm / 196.9" · ajustable sur le champ à la canopée

Diamètre × Hauteur

L 8,7" × H 6,3" / L 22 cm × H 16 cm (abat-jour L 3,9" / 10 cm)

Matériau

Bois de noyer · Verre

Finition du corps

Couleur Noyer

Finition de l'Abat-jour

Vert

Montage

Montage plafond câblé · canopée unique

Idéal pour

Au-dessus d'un comptoir ou îlot de cuisine · table à manger (simple ou groupée) · entrée · coin petit-déjeuner

Certifications

Amérique du Nord Australie Europe Moyen-Orient

Ressources fabricant

Fiche technique

PDF

Feuille d'installation

PDF

Sécurité des paiements

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A+ Content — Ceramic Lighting Collection

Ceramic Lighting Collection Clay · Glaze · Kiln · Light

Handcrafted Ceramic Lighting

Where clay becomes light.

Every shade in this collection is thrown, glazed, and fired by hand — so the light reaching your room has passed through something made, not molded.

Kiln-fired stoneware Hand-applied glaze Small-batch made

Lit ceramic pendant lamp in a dim room, glow visible through shade

No two pieces leave the kiln the same. That's not a flaw in the process — it's the point.

Firing Curve

Two Firings

Forming

Thrown or slip-cast

Drying

Leather-hard to bone-dry

Bisque

999°C · Cone 06

Glazing

Dipped or hand-brushed

Glaze Fire

1,222°C · Cone 6

Cooling

~12 hrs kiln cooling

From Clay to Light

The Making Process

Six stages, each done by hand, from raw clay to a tested, finished lamp. Sequence matters — skipping or rushing any stage changes how the piece looks, feels, and glows.

Hands wedging clay in a spiral motion, working out air bubbles

Stage 01 · Raw Material

Choosing the Right Clay for Each Piece

Every lamp starts with a specific clay body — porcelain for parts that need to glow, stoneware for bases that need to bear weight. The clay is hand-wedged in a spiral motion to work out air pockets, which would otherwise crack the piece during firing.

Hand-wedgedAir removed

A shade body being thrown on the wheel, or slip poured into a plaster mold

Stage 02 · Forming

Thrown on the Wheel, or Slip-Cast

Round forms are thrown on the wheel — centered and drawn up by hand with the help of water. Shades with a more sculptural or asymmetric form are slip-cast instead: liquid clay is poured into a plaster mold, which draws out moisture until the piece releases cleanly.

Wheel-thrownSlip-cast

A piece being trimmed on the wheel, then left to dry slowly under loose plastic sheeting

Stage 03 · Trimming

Trimmed Leather-Hard, Dried Slowly

Once the piece firms up to leather-hard, it's trimmed on the wheel to clean up the foot ring and even out wall thickness. It then dries under loosely draped plastic for days to weeks — slowly enough that one side doesn't dry faster than another and warp the form.

Hand-trimmedDried days to weeks

Greenware loaded into the kiln, ready for its first firing

Stage 04 · First Firing

The First Firing, Before Glaze

Fully dried greenware goes into the kiln for its first firing, with the temperature climbing slowly to about 999°C. This burns off any remaining moisture and organic matter, hardening the clay into bisque — sturdy enough to handle, yet porous enough to still absorb glaze.

999°C · Cone 068–12 hr firing cycle

Glaze mixed in-house, then dipped or hand-brushed onto the piece

Stage 05 · Surface

Mixing, Applying, and Wiping the Glaze

Glaze is mixed in-house from silica, flux, and mineral oxides, then applied directly to the bisque by dipping, pouring, or hand-brushing. The foot ring is wiped clean or waxed beforehand — otherwise glaze there would fuse the piece to the kiln shelf during firing.

Dipped or hand-brushedFoot ring kept glaze-free

The finished piece after glaze firing, wired and tested under power

Stage 06 · Glaze Firing

Vitrified, Wired, and Tested

The second firing climbs to about 1,222°C — hot enough to melt the glaze into glass and fuse the body itself into dense, watertight ceramic. Once cooled, each piece is wired, fitted with hardware, and tested under power before it's packed.

1,222°C · Cone 6100% power-tested

Why Ceramic

What the Material Gives You

Glow, Not Glare

Ceramic softens light far more than glass or plastic shades, giving a warm, even glow instead of a harsh bulb-bright glare.

Kiln-Fired, Built to Last

Fired stoneware is heat-resistant and durable — made for everyday use, not just for looking at.

One of a Kind

Hand-applied glaze creates natural variation in color and texture. The one that reaches you is the only one like it in the world.

At a Glance

Handmade Ceramic vs. Mass-Produced Lighting

Injection-molded shades are built for speed and consistency. We're built for character — here's an honest comparison of the trade-offs.

Feature	This Collection	Typical Mass-Produced
Shade material	Kiln-fired stoneware	Injection-molded plastic or resin
Light quality	Soft, even glow	Often harsh or uneven
Made by	Individual artisans, small batch	Automated production lines
Surface finish	Hand-glazed, natural variation	Uniform spray coating
Uniqueness	One of a kind	Identical to thousands of others

Two Honest Techniques

Thrown by Hand, or Cast by Hand

Round bases can be thrown on the wheel, spun and shaped by the potter's hands. Shades with a more sculptural or asymmetric form suit slip-casting instead — liquid clay poured into a plaster mold, left until it draws out enough moisture for the piece to firm up and release.

Neither method is a shortcut. Thrown pieces carry the faint spiral texture the wheel leaves behind, honest and unadorned; cast pieces precisely reproduce every detail of the mold. We choose the technique the form calls for, not whichever costs less.

Hand-Thrown

Spiral throwing lines

Slip-Cast

← Mold seam line

Thrown

Every piece unique

Cast

Precisely repeatable form

Fired Together

Same clay, same kiln

Breaking Down the Clay Body

Clay Isn't One Recipe

The clay body matters as much as the form itself — how much light it lets through, how much weight it can carry, how well it holds up to a knock. We choose the right clay for each part, rather than using one body for everything.

Kaolin-based

Porcelain

Kaolin 50% Feldspar 25% Quartz 25%

Fully vitrified, porcelain fires to a bright white with a faint translucency — thin-walled areas glow when lit from within, rather than just reflecting light off the surface.

Best for shades and fittings where the glow-through effect matters most

Ball clay blend

Stoneware

Clay 60% Feldspar 20% Grog 20%

A denser, less refined clay body — it vitrifies at a similar temperature but stays opaque, with a warm tone throughout. The grog mixed in resists cracking and gives each piece real heft.

Best for bases and bodies that need durability and weight

Low-fire body

Earthenware

Clay 70% Quartz 20% Iron oxide 10%

Fired at a lower temperature, earthenware stays naturally porous where it isn't fully glazed, showing a warm terracotta tone that peeks through wherever the glaze runs thin or bare.

Best for decorative pieces with an exposed-clay feel

Shipping Protection

Ceramic Is Fragile — Our Packaging Isn't Casual About It

Every lamp goes through four layers of packaging before it leaves — starting with a foam liner shaped to fit the piece, then layer after layer of cushioning against shock and vibration in transit, finished with a double-walled reinforced box.

Corners get their own reinforcement, and the outside of the box is clearly marked fragile and this-side-up, so every hand it passes through in transit knows how to handle it.

Double-walled box Honeycomb cushioning Custom foam liner The lamp

Four Layers

Cushioned at every layer

Reinforced

Corners strengthened individually

Labeled

Fragile & orientation clearly marked

Glaze Options

One Clay Body, Three Glaze Finishes

The same fired clay body, finished in different glazes — the difference happens at the fifth step in the process, not sprayed on afterward. Each glaze has its own sheen, texture, and level of translucency.

Celadon Matte

A soft, semi-matte sage-green glaze that pools slightly deeper in every groove and seam, carrying on the quiet tradition of East Asian celadon.

Crackle Reaction

An ivory-white glaze formulated to deliberately crackle — as the kiln cools, the surface forms a fine web of hairline cracks, making every piece one of a kind.

Iron Temmoku

An iron-rich glossy glaze that fires almost black where it pools thick, while edges and ridges where the glaze runs thin show through in a warm rust tone.

	Celadon Matte	Crackle Reaction	Iron Temmoku
Translucency	★★★☆☆ Soft, even diffused light	★★★★☆ Bright, glassy translucence	★★☆☆☆ Low translucency, directional glow
Texture	Satin matte, glaze pools slightly in recesses	Glossy surface, covered in fine crackle lines	Glossy surface, rust tone shows on raised edges
Best for	Quiet, minimalist and Japandi-style spaces	Cottage, coastal and vintage-style spaces	Moody, texture-rich modern-traditional spaces

Pre-Shipment Testing

Checked Piece by Piece, No Blind Spots

This is the standard every single lamp has to meet before it leaves the workshop — not just a sample from the batch.

Tap Tone Test

Every fired piece is tapped and listened to — a clear, bell-like ring confirms full vitrification. A dull or muffled sound gets it pulled, no exceptions.

Wall Thickness Check

Finished pieces are checked for even wall thickness, since uneven walls are the most common cause of cracking after glaze firing.

Glaze Inspection

Every glazed surface is checked under raking light for pinholes, hairline flaws, or thin spots, and has to pass clean before moving on.

Wiring & Safety Test

Once the socket, wiring, and hardware are assembled, every unit is powered on and tested before it's packed.

Everyday Care

Glaze Only Gets Richer With Time

Fired ceramic is stable and long-lasting — but the right care keeps the glaze looking its best and lets the piece stay safely in daily use for years.

Dusting

Wipe the surface weekly with a dry soft cloth or feather duster — glaze tends to collect dust more readily than a sprayed-on finish.

Moving It

Always support the base from underneath when moving it — never grip the shade or fittings, as thin-walled areas can crack under sideways pressure.

Cleaning

Clean the glaze with a barely damp soft cloth and dry it immediately — this matters even more for finishes with fine crackle.

What to Avoid

Avoid bleach, ammonia, or abrasive cleaners — they can dull a matte glaze over time, and may work their way into the fine lines of a crackle glaze.

The fine web of a crackle glaze isn't a flaw — it's a controlled reaction built into the glaze recipe on purpose. Over years of use, its tone naturally deepens, which is exactly the patina these pieces are known for.

Our Promise

Hand-checked by a craftsperson before it ships.

Every lamp is wired and lit before it leaves the studio, checked for even light. If what arrives has a genuine flaw — not natural glaze variation — reach out and we'll make it right.

Clay is a natural, renewable material, and any kiln waste this collection produces is reclaimed and reused rather than thrown away.

Small-batch made · One of a kind