Green Art Glass Petal Pendant Light
See It Lit
Photographs flatten glass. These are the two things a still cannot show you — what the light does, and how close the colour really is.
Filmed in our own workshop — no rendering, no CGI.
The craftsmanshipThe Art Glass DifferenceWhy hand-cast art glass beats molded glass & resin, the many shapes our artisans create, and how to spot the real thing. ▦ Material comparison ✦ One craft, many shapes 🔍 Spot genuine glass Open
Hand-cast art glass vs. molded glass vs. resin
Three materials look similar in a thumbnail — but live very differently on your wall. Here's how our hand-cast art glass compares.
| Our Hand-Cast Art Glass | Molded / Pressed Glass | Resin / Acrylic Imitation | |
|---|---|---|---|
| How it's made | Hand-cast & shaped by artisans, one piece at a time | Machine-pressed in a fixed mold, mass-produced | Liquid resin poured into a mold, mass-produced |
| Texture & pattern | Unique crackle texture — no two tubes alike | Identical, repeating pattern on every unit | Flat, "printed-on" look; texture feels superficial |
| Light quality | Deep, layered glow; light refracts through real glass | Even but flat; little depth or movement | Dull, slightly cloudy; can look plasticky when lit |
| Feel & weight | Substantial, cool, solid in the hand | Solid but uniform | Noticeably light, warm, hollow-feeling |
| Color over time | Color is in the glass — won't fade or yellow | Stable color | Can yellow or cloud with heat & UV over time |
| Heat tolerance | High — glass handles bulb heat well | High | Lower — can warp or discolor near heat |
| Character | A one-of-a-kind work of glass art | A functional, uniform fixture | A budget look-alike |
The takeaway: hand-cast art glass costs more to make, but it's the only one that gives you genuine depth of light, individual character, and lasting color — the qualities that make a fixture feel like art rather than hardware.
One craft, many shapes
Every piece begins the same way — molten glass, hand-cast and shaped by our artisans. From that single craft comes a whole family of forms, each catching and releasing light in its own way.
Looking for a different shape, size, or color in this art glass? We offer full customization — just reach out and our designers will help.
How to spot genuine art glass
Online photos can make resin and glass look alike. Here's how to tell the difference once it's in your home — every point below describes our fixtures.
Pick it up
Real glass is cool and substantial. Resin feels warm, light, and hollow. Our tubes have real weight — many customers say the heavy box was their first clue it's genuine.
Look at the texture
Hand-cast crackle texture has true depth you can feel with a fingertip. Resin texture looks like it's printed on a flat surface.
Turn on the light
Glass refracts light into a layered, moving glow. Resin tends to look flat, dull, or slightly cloudy when lit.
Compare two pieces
No two hand-cast tubes are exactly identical. If every piece looks machine-perfect and matched, it's molded — not artisan glass.
Our promise: every fixture is genuine hand-cast art glass. Slight variation between pieces isn't a flaw — it's proof it was made by hand.
Made To Order
Love the design but need it tailored to your space? We offer comprehensive customization solutions — dimensions, surface finishes, chain lengths, and more. Simply tell us your requirements, and we'll take care of the rest.
Share Your Idea
Message us online and get a fast response to your brief.
Expert Consultation
Our designers advise on size, finish, and proportion for your room.
We Craft It
Made to spec and inspected before it ships.
Green is the hardest colour to hang over a table. This one gets it right.
Green Art Glass Petal Pendant Light Green is the hardest colour to get right in glass. Too pale and it reads as bottle glass; too saturated and the room turns aquarium. This green art glass pendant light sits in the narrow band between them — an olive-chartreuse that behaves the way sunlight behaves when it comes through a canopy of leaves: warm at the centre, cooler at the folded edges, never flat.
Nine curved glass petals hang from a slim brass-finished frame, each one turning outward at the tip the way a bloom opens after rain. They are not identical. Slight shifts in ripple and tone run from panel to panel, so the shade catches light unevenly and throws a soft, moving pattern onto the ceiling above it and the table below. Switch it off and it becomes a piece of green sculpture on a long brass line. Switch it on and the petals go translucent, edges glowing brass-gold where the glass thins.
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Colour Through the Glass, Not On ItGreen runs through the body of the material rather than sitting on the surface as a coating. It cannot scratch off at the edges, fade where the lamp sits closest, or yellow with heat. The tone you unpack is the tone in ten years.
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Still Worth Looking At UnlitMost coloured pendants go flat and grey during daylight — which is sixteen hours of every day. The petal form and the ripple in the surface keep this one reading as an object when the switch is off, not as a fixture waiting to be useful.
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The Flare Hides the LampPetals turn outward at the base, so the lamp is screened from anyone seated at the table below. Light spills down onto the surface; the glare does not reach your eyes. This is why it works directly over a dining table where a bare-bulb pendant does not.
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Nine Petals, Nine HooksEach petal hangs on its own point rather than being set into a moulded shade. That is why no two units space out identically — and why one damaged petal is unhooked and replaced on its own instead of the whole fixture going back.
Dimensions & Placement
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Over a Dining TableWhere it belongs first. Hang the lowest petal 30–36″ (75–90 cm) above the tabletop — at that height the flare sits just above sightlines and nobody at the table is looking into the lamp. Suits tables up to about 48″ (120 cm) across on its own.
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Kitchen Island, in a RunAt 11.8″ wide it is built for repetition. Hang two over a 6–7 ft island or three over 8 ft and up, spacing centres 30–36″ apart and keeping the outer fixtures at least 12″ in from the ends of the counter.
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Entry, Hallway, Bedside PairSmall enough for a standard 8–9 ft ceiling. In any spot people walk beneath, keep the lowest petal at least 7 ft (2.1 m) off the floor. As a bedside pair, hang the base roughly level with your eyes when sitting up to read.
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Where It Must Not GoRated IP20 — no protection against water at all. Not for a bathroom, above a bath or shower, in a laundry, or on a covered porch or balcony. Those locations need a damp- or wet-rated fixture.
Specification
- MaterialMetal Frame · Green Glass Petals
- Body finishGold · Nickel
- GlassGreen
- Glass petals9, each hung individually
- Light sourceLED bulb recommended — warm white 2700K
- Bulb baseE12 (bulbs not included) — the small candelabra screw base, the same one used in most chandeliers
- VoltageAC 110–240V
- Electrical components: UL/CE/SAA certified
- ControlWall switch — dimmable with dimmable bulbs on a compatible dimmer
- WiringHardwired — professional installation recommended
- Ingress ratingIP20 — indoor, dry locations only
- ApplicationDining table · kitchen island · entry · hallway · bedside
- Customized serviceYou can easily customize the size, finish color, number of light sources, and hanging wire & chain length. Simplify the customization process and communicate directly with our designers online.
Please feel free to contact us by email if you have any questions.
Our email: support@korewolamp.com
What Makes It Special
There are two ways to make a green lampshade. The cheap way sprays or films colour onto clear glass, and it always announces itself eventually — a scratched edge showing white underneath, a pale halo where the lamp sits closest, a yellow cast after two summers. The other way puts the colour into the glass while it is still molten, so the green is the material rather than a layer on it. Chip the edge and the break is green all the way through. That is what this is, and it is why we are willing to describe the tone precisely: an olive-chartreuse that goes luminous when lit and settles to a deeper moss when it is not.
At 30 cm in both directions this is deliberately not a statement chandelier, and the proportion is doing a job. It hangs low enough to be read closely — the ripple in each petal, the way the tips curl outward at different angles — which only matters on a fixture people sit near for an hour at a time. The flared base is the other half of it: petals turning outward screen the lamp from anyone seated below, so you get light on the table and nothing sharp in your eyes. Small, low, and comfortable to sit under is a harder specification than large and impressive.
Each petal is formed over a mould and cooled slowly, which is what preserves the rippled, water-worn surface instead of flattening it to plate glass. The consequence is that no two panels come out identical — ripple depth shifts, tone shifts, the curl at the tip lands at its own angle. Because each one hooks onto its own point on the frame rather than being set into a moulded shade, that variation carries into the assembly too, and two of these pendants side by side will never read as copies. It also means a single damaged petal is replaced on its own. We hold spares for the life of the collection.
A Colour You Live Under
Not a fixture you install. A tone the room takes on.
Green is the hardest colour to hang over a table. Too pale and it reads as bottle glass. Too saturated and the room turns aquarium. This one sits in the narrow band between them — an olive-chartreuse that behaves the way afternoon light behaves coming through a canopy of leaves: warm at the centre, cooler where the glass folds, never flat.
Each of the nine petals is formed over a mould and then cooled slowly, so the surface keeps its rippled, water-worn texture instead of settling into flat plate glass. The green is put into the glass while it is still molten rather than sprayed onto it afterwards, which is why it cannot scratch off an edge, pale out near the lamp, or yellow with a few summers of heat. Slow cooling is also unpredictable cooling — ripple depth shifts, tone shifts, the curl at each tip lands at its own angle — and so no two pieces are ever quite the same.
Together the nine petals make something small and specific: eleven inches across, hung low, closer to a bloom opening than to a chandelier. Lit, the glass goes translucent and the edges glow gold where the material thins. Unlit, it holds its shape as a piece of green sculpture on a slim rod. It doesn't just light your table. It gives the room a temperature.
Dinners That Run Late
The flared petals screen the lamp from anyone seated below — soft enough that no one wants to get up, and no glare in a single face across the table.
Two or Three in a Row
At eleven inches it is built for repetition. Run a pair over a short island or three over a long one, and the green reads as a rhythm rather than a statement.
The Hours It Isn't On
Most coloured pendants go grey in daylight — which is sixteen hours of every day. The petal form and the ripple keep this one worth looking at with the switch off.
Coloured all the way through, formed one petal at a time — and finished by the light you turn on beneath it.
Before You Order
The colour, the height, and the bulb that changes both.
01Will green glass make my whole room look green?
No. The petals flare outward at the base, so most of the light drops straight down and lands neutral on your table.
The green tint goes upward and outward onto the ceiling and upper walls. You get a warm green glow overhead, and clean light on your food.
02Is the green as bright as the photos?
03What bulbs does it take?
[__] × E12 — the small candelabra screw base used in most chandeliers. Not included.
Choose 2700K warm white. This matters more here than on a clear fixture: a warm bulb gives the olive-gold in our photos, a cool or daylight bulb pushes the same glass towards blue-green. Same lamp, different colour.
04How high should I hang it?
Over a table: 30–36″ (75–90 cm) from the tabletop to the lowest petal.
Anywhere people walk: keep the bottom at least 7 ft (2.1 m) off the floor.
The rod is rigid and shortens on site by removing sections. Ceiling higher than standard? Tell us when you order and we will send extra rod.
05What size table or island does it suit?
06Gold or nickel — which should I choose?
07Can it be dimmed?
08Where can I not put it?
09Is it hard to install? How do I clean it?
Install: hardwired to a ceiling box — we recommend a licensed electrician. The frame goes up first, then the nine petals hook on one at a time. A few minutes, no tools for that part.
Clean: switch off, let the bulb cool, wipe each petal with a soft dry or barely damp cloth. No ammonia sprays or abrasive cloths — they dull the surface texture. Twice a year is plenty.
10Are the petals identical? What if one breaks?
Not identical — ripple, tone and the curl at each tip vary panel to panel. That is the glass, not a fault.
Each petal hooks on individually, so a damaged one is replaced on its own — never the whole fixture. Damaged in transit? Send photos within 24 hours and we replace it. After that we hold spares and will supply them at any time.
Not sure about the size or the colour in your room? Send us a photo of the space and we will tell you.
Two Guides, Written for This
Most installation questions come up twice — once when you are deciding where a light goes, and again when it is in your hands. We wrote one guide for each.
Installation Scenario Guide
Which room, which size, and how high. Read this before you order, while the choice is still open and nothing has been drilled.
- How high to hang over a table, an island, a stairwell
- Matching fixture size to room size and table width
- Clearance in walkways, and what a low ceiling changes
- Where a fixture should not go at all
Installation Process Guide
The fitting itself, step by step. Read this when the box arrives — ideally before you open it.
- Unpacking glass safely, and what to check on arrival
- Junction box weight, support, and when to add a brace
- Wiring, canopy fitting, and setting the chain length
- Why two people make almost every fixture easier
Three Heights of Light
A room lit from one point overhead is a room with one shadow. Ceiling, wall, floor — three fixtures doing three different jobs, and none of them competing for the same spot.
Elowen Green Glass Petal Pendant
Overhead · Green Glass · Gold or NickelThe colour in the room. Nine green petals flaring outward so the lamp stays hidden from anyone seated below — 11.8″ across, hung low over a table or run two and three along an island.
This one covers the table — the light people eat, work and talk under.
Lorelei Rippled Glass Curtain Wall Sconce
Wall · Rippled Glass · NickelThe same idea at face height. A row of rippled glass panels, each on its own hook, washing the wall above and below — W 10.6″ with a shallow 5.9″ projection, so it clears a narrow hall. Available singly or as a pair.
Choose this if you need light where there is no ceiling to hang from — beside a mirror, down a corridor, or above a nightstand.
Sculpture Ginasta Spiral Floor Lamp
Floor · Textured Black · Gold SphereThe corner piece, and the only one here that needs no electrician — it plugs in. A spiral standing 72.8″ tall (a 65″ version is also made), scaled to hold an empty corner on its own rather than sit politely in one.
Choose this if you are furnishing a corner rather than lighting a task, and you want one large sculptural piece instead of several small ones. It is the most substantial fixture of the three, priced accordingly.