Iron as a raw material seems quite archaic. Under the hands of our smith this cold and crude material is formed to warm and gentle forms, some floral, some geometric.

Flowers and curls artfully forged create a lofty feel in the otherwise strong geometric composure of this fixture. The exquisite leaf gilding furthers this expression.

This line was made for a major church in Innsbruck.

This chandelier is a very elaborate design from the Neo-Gothic period. Then it was very popular for churches as it features religious motives.

The main feature of this item is the large Madonna statue on the central column holding the infant Christ. On the arms it also bears the typical crude floral ornaments. Despite this crudeness the chandelier breathes an air of lightness and delicacy through its slender design and the shiny surface. Commonly a light antique finish is applied to blend into classical architecture.

This chandelier is a very elaborate design from the Neo-Gothic period. Typical for this period is the central column shaped as a gothic tower. These architectural motives are also used on the arms where they function as drop catchers below the candles. On the arms it also bears the typical crude floral ornaments.

Despite this rustic crudeness the chandelier breathes an air of lightness and delicacy through its slender design and the shiny golden finish. As such it also blends perfectly into contemporary architecture.

In the early 20th century we acquired the whole archives of an important Dutch chandelier maker, enabling us to still manufacture originals of this style in the most authentic fashion.

Individual parts such as arms or the central column are cast from brass and skillfully polished by our craftsmen.

Usually an antique finish is applied, which gives a classical and rustic effect, making these items very sought after for cottages or churches. Nevertheless a shiny brass polish lets them blend perfectly into modern architecture.

The acquisition of the archives of an important Dutch chandelier maker in the 1920s enables us to still manufacture originals of this style in nowhere else to be found perfection and authenticity. Our craftsmen create with these objects the most beautiful variants of antique finishes. In modern applications the original polished finish is most sought after.

The modest Viennese Baroque features the elaborate crafting of iron, gilded with leaf gold. A significant example are the chandeliers in the Hofreitschule in Vienna. This technique was also influential the 1950s. We still manufacture this style in traditional materials using handed down techniques.

The late 19th century Lobmeyr was the jewel in Austria‘s industry. We created stunning presentation of the Austrian hand crafting art, mirroring the creative impetus of Austria to that time. The few originals from this time are lovingly and carefully restored by our experienced craftsmen.

The Historism saw one of the most creative periods of our early chandelier development. Fixtures like this marked the highest point of craft and design of the late 19th century drawing from earlier epochs to create contemporary designs.

The frame of this chandelier is made of brass with many cast applications and features the most precious king’s gold finish. The crystal parts of the central stem are cut by hand skilfully polished to their brilliant finish. It also features the so typical spiral design on the arms many items from this period show.

The Historism saw one of the most creative periods of our early chandelier development. Fixtures like this marked the highest point of craft and design of the late 19th century drawing from earlier epochs to create contemporary designs.

The frame of this chandelier is made of brass with many cast applications and features the most precious king’s gold finish. The crystal parts of the central stem are cut by hand skilfully polished to their brilliant finish. It also features the so typical spiral design on the arms many items from this period show.

The crude and archaic iron is very versatile material. An experienced black smith can create raw and primal objects but also light and tender ornamentations with different techniques. Rural styles made great use of this options as well as religious designs.

This little chandelier was used for a church in Austria following the style of the Renaissance period. Through the use of wrought iron this chandelier is a very modest and simple item but still emanates the air of a precious piece of hand crafting. This is especially useful for hallways or rural cottages. Lovely details are the Globus Cruciger on the arms and the masterly crafted double-headed eagle in the centre.

The item is made from hand-wrought iron. It is then finished with black lacquer to give it an even and dark surface.

This is one of the chandeliers taken from a collection of fixtures from the Hermitage in St. Petersburg. The frame consists of a multitude of brass rings richly highlighted with cut icicle crystals. The arms protrude from the central column in a tuft of ornaments bearing small crystals. A similar tuft crowns the top of the fixture.

Main feature of the central column is mouth blown a vessel of opaque glass. The most prominent detail though is the hand cut pyramids on the outer rim. Also these feature a tuft-like crown.

With its small size this chandelier is a perfect highlight for small salons or dining rooms.

The arms of this chandelier are shaped the way so typical for the northern European counties. The winding of the arms shall resemble the route of the sun over the sky as daylight hours were short in the north and celebrated in this was.

The crystal consists of small beads and highly faceted slender icicles. This gives it a very lofty expression and still a brilliant sparkle.

The taken back metal parts are given a fine gold surface to warm the fire of the crystals.

This model was copied from an original in the Hermitage in St. Petersburg.

The arms of this chandelier are shaped the way so typical for the northern European counties. The winding of the arms shall resemble the route of the sun over the sky as daylight hours were short in the north and celebrated in this way.

The crystal consists of small beads and highly faceted slender icicles. This gives it a very lofty expression and still a brilliant sparkle.

The taken back metal parts are given a fine gold surface to warm the fire of the crystals.

In early Biedermeier more elaborate decorations became popular on modest shapes. It was strongly influenced by French Empire style.

This pendant is made from an elaborate cast brass ring. It is supported by an exquisite chain. In this sits a brilliantly cut crystal bowl. Beside the outside arms which are also cast there can be interior lights installed hidden within the bowl.

From a painting we know that one item from this family was the sole light source in the personal office of Emperor Franz I at Vienna Hofburg Palace.

In early Biedermeier more elaborate decorations became popular on modest shapes. It was strongly influenced by French Empire style.

This pendant is made from an elaborate cast brass ring. It is supported by an exquisite chain. In this sits a brilliantly cut crystal bowl. Beside the outside arms which are also cast there can be interior lights installed hidden within the bowl.

From a painting we know that one item from this family was the sole light source in the personal office of Emperor Franz I at Vienna Hofburg Palace.

With its long and elegant shape this chandelier represents one of the milestones of our range of Russian Empire chandeliers.

The frame from brass is carefully finished with gold and bears very detailed decors imprinted by hand. The crystal is lead-free and hand-polished for exclusive brilliance.

A special feature of this item is the name-giving corn-cob and leaf elements in the central column. This is picked up to design the crown of the chandelier where the corn feature is used to create a feather-like crown on top which lovely borders the chandelier from the ceiling.

This chandelier is a wonderful example of the style of late Empire. Its gold applications contrast perfectly with the large black bowl of brass that represents the main body of the chandelier. It is decorated with cast ornaments depicting figures of Greek mythology, typical for late Empire of the time of Napoleon. Striking details are the extensive cast and gilded brass ornaments on the bowl, the rim and the canopy. Other lovely details are the elaborate chains from the main body to the lower canopy. The arms sitting on the ring around the bowl are extensively decorated in the shape of feathered swans.

This is one of the chandeliers taken from a collection of fixtures from the Hermitage in St. Petersburg. The gilded frame of polished brass forms a not so typical bag and tent chandelier. An exceptional feature is the main rim which is suspended by slender outside chains from the top ring. Another striking detail is the central column which is made up just like a tiny fixture on its own within the main body of the chandelier. This rests on a vessel of opaque glass.

The composure of the whole chandelier creates a special atmosphere by keeping the inside free from structural elements.

This is one of the chandeliers taken from a collection of fixtures from the Hermitage in St. Petersburg. The gilded frame of polished brass forms a not so typical bag and tent chandelier. An exceptional feature is the main rim which is suspended by slender outside chains from the top ring. Another striking detail is the central column which is made up just like a tiny fixture on its own within the main body of the chandelier. This rests on a vessel of opaque glass.

The composure of the whole chandelier creates a special atmosphere by keeping the inside free from structural elements.

This is one of the chandeliers taken from a collection of fixtures from the Hermitage in St. Petersburg.

The gilded frame of polished brass forms a not so typical bag and tent chandelier. An exceptional feature is the main rim which is suspended by slender outside chains from the top ring. Another striking detail is the central column which is made up just like a tiny fixture on its own within the main body of the chandelier. This rests on a vessel of opaque glass.

The composure of the whole chandelier creates a special atmosphere by keeping the inside free from structural elements.

The custom of decorating chandeliers with colourful glass fruits brings a renaissance to classical baroque models. During this period we drew from our voluminous archive of classical baroque designs. So the elegant form of the gilded cage is softened by the playful character of the fruits.

This small precious item brings splendour into the tiniest room.

The custom of decorating chandeliers with colourful glass fruits brings a renaissance to classical baroque models. During this period we drew from our voluminous archive of classical baroque designs.

So the elegant form of the gilded cage is softened by the playful character of the fruits.

This small precious item brings splendour into the tiniest room.

With the advent of the electrical light bulb we were the first to collaborate with Mr. Thomas A. Edison in creating new types of chandeliers. The peak of this work was the chandelier we presented at the Simplon exhibition in Milan in 1906, the predecessor of the Triennale.

The striking new design was first to completely abolish the outside arms and use the crystal of the chandelier as the perceived light source.

Following this concept we created very elaborate pieces bearing highly decorated cast ornaments and our wonderful King’s Gold finish, resembling the old fire gilding.

From the collaboration of Ludwig Lobmeyr with Thomas A. Edison this prototype resulted. It is the world’s first representative chandelier making use of electrical light bulbs.

As a technical prerequisite this design is first presents hanging light bulbs which resulted in a whole new style of chandeliers.

The frame of the chandelier is made of brass in the elaborate kings gold finish. The crystal parts are made from lead-free crystal and highly cut and polished by our master cutters.

This item marks the high point of a very prosperous and creative phase in our company history.

With the advent of the electrical light bulb we were the first to collaborate with Mr. Thomas A. Edison in creating new types of chandeliers. The peak of this work was the chandelier we presented at the Simplon exhibition in Milan in 1906, the predecessor of the Triennale.

The striking new design was first to completely abolish the outside arms and use the crystal of the chandelier as the perceived light source.

Following this concept we created very elaborate pieces bearing highly decorated cast ornaments and our wonderful King’s Gold finish, resembling the old fire gilding.

The bloom of the wooden chandelier was during the Biedermeier epoch where the wish for presentation met with a certain kind of modesty. So elaborate wooden sculptures were created and covered in leaf gold.

Between the golden areas paint in sombre colours give the fixture a more vivid look. To further enhance the lively expression the fixture features not only standard leaf gold surfaces. Certain areas are gilded using 24k gold plating which enables us to polish these surfaces for an even more precious finish and a highlight of the ornamental surface.

The bloom of the wooden chandelier was during the Biedermeier epoch where the wish for presentation met with a certain kind modesty. So elaborate wooden sculptures were created and covered in leaf gold. Between the golden areas paint in sombre colours give the fixture a more vivid look.

This fixture is notably not only because it shows also polished areas of gold but also because of the delicate brass ornaments the body is decorated with.

This design was made in around 1930 by the Viennese architect Carl Witzmann for the refurbishment of the cabaret and movie theatre Scala in Vienna.

As a student of Josef Hoffmann he perfectly matched our philosophy by combining classical shapes with modern elements.

This almost simple but still playful design takes its splendour from the vast amount of cut beads.

The geometrical form is complemented by the brushed nickel frame which gives it an organic feel and contradicts the otherwise shiny finish.

Drawing from the classical baroque shapes and materials Stefan Rath creates a new interpretation of the glass arm chandelier. He takes the lightness of the classical glass arm chandelier and over-exaggerates this by using muslin-thin glass, more common with our stemware lines.

The archives of our family report that the scarcity of precious metal between the world wars drove Stefan Rath to the so well mastered material glass. Thus he created another modern classic in a timeless fashion.

His wife Marianne interpreted this design in a very elegant fashion with the iconic low-drawn arms. It appears as a link between this modern line and the ancient baroque models.

This lovely fixture was designed by the prominent Viennese Architect Prof. Eduard Wimmer-Wiesgrill for a Villa of the Fleischmann family.

The frame of the chandelier is made in the typical baroque technique of bars from wrought iron which are then leaf gilded and covered with glass bars. The frame also bears leaf-like decoration to give it a floral expression. These are carefully welded to the frame prior to gilding.

Unlike the baroque chandeliers this fixture does not have candle bulbs but hanging bulbs. The hanging bulbs are then covered by little lanterns made from silk. These can be made in various colours to match the overall design of the room.

This classical Baroque chandelier design originates from around 1720. Originally manufactured for Prince Eugen of Savoyen's palace "Schloss Hof", they were reconstructed by us on occasion of the castle’s restoration in 1995.

The arms of glass rest on a brass “cake”. All visible metal parts are polished. The modular construction allows for various to-fit layouts.

Through its simple shape it creates a timeless flair which perfectly accents a clean and clear modern architecture. Used in classical interiors it serves as a calm and set back centre piece.

This classical Baroque chandelier design originates from around 1720. Originally manufactured for Prince Eugen of Savoyen's palace "Schloss Hof", they were reconstructed by us on occasion of the castle’s restoration in 1995.

The arms of glass rest on a brass “cake”. All visible metal parts are polished. The modular construction allows for various to-fit layouts.

Through its simple shape it creates a timeless flair which perfectly accents a clean and clear modern architecture. Used in classical interiors it serves as a calm and set back centre piece.

Glass was one of the first materials used for lighting objects. In baroque chandeliers completely made from glass were created by Bohemian master glass makers influencing the chandelier tradition until now. We repeatedly drew from the lightness this techniques offer and created wonderful pieces in this tradition.

This classical Baroque chandelier design originates from around 1720. Originally manufactured for Prince Eugen of Savoyen's palace "Schloss Hof", they were reconstructed by us on occasion of the castle’s restoration in 1995.

The arms of glass rest on a brass “cake”. All visible metal parts are polished. The modular construction allows for various to-fit layouts.

Through its simple shape it creates a timeless flair which perfectly accents a clean and clear modern architecture. Used in classical interiors it serves as a calm and set back centre piece.

Designed for the World Exhibition in Paris 1937, this is the most prominent work of Oswald Haerdtl, one of our most important designers. It is the best example of Haerdtl’s play with light floral shapes and heavily cut crystal. Through its slender body it emanates a noble elegance. This is even enhanced by the almost lavishly long candles.

Those two colours always carried elegance and nobility. Especially with lighting these shine brilliantly. The opulent lamps of the French Empire style are exquisite examples. For the elaborate cast elements we use the precious Kings Gold finish which can be polished by hand using semi-precious stones.

Even among the most elegant works of Oswald Haerdtl this item sticks out with its playful walk between minimalism and decoration. The stern cut bowl gives a strong presence contradicted by the long stem. A cut crystal star at the base and the typical floral element at the crown give the fixture the perfect frame.

The cut bowl bears a sophisticated cut that creates the illusion of a mirror finish breaking all looks back upon themselves. Yet the light can pass unhindered creating the softest of lighting effects.

The typical chandelier of the Biedermeier, the “Wiener Grüst’l”, has its cradle in our workshops in Salesianergasse back in the 1830s. A framework from carefully decorated sheet brass is garlanded with gentle strands of crystal. The brass is either highly polished and lacquered or allowed to darken with time.

Typical for the period the chandelier has a very modest composure but still emanates an elevated atmosphere as other more elaborate “bag and tent” chandeliers from the same period.

As with originals, the electrical wires are hardly but still visible atop the arms.

The typical chandelier of the Biedermeier, the “Wiener G’rüstl”, has its cradle in our workshops in Salesianergasse back in the 1830s. A framework from carefully decorated sheet brass is garlanded with gentle strands of crystal. The brass is either highly polished and lacquered or allowed to darken with time.

Typical for the period the chandelier has a very modest composure but still emanates an elevated atmosphere as other more elaborate “bag and tent” chandeliers from the same period.

As with originals, the electrical wires are hardly but still visible atop the arms.

The typical chandelier of the Biedermeier, the “Wiener Grüst’l”, has its cradle in our workshops in Salesianergasse back in the 1830s. A framework from carefully decorated sheet brass is garlanded with gentle strands of crystal. The brass is either highly polished and lacquered or allowed to darken with time.

Typical for the period the chandelier has a very modest composure but still emanates an elevated atmosphere as other more elaborate “bag and tent” chandeliers from the same period.

As with originals, the electrical wires are hardly but still visible atop the arms.

Influenced by French Empire Austria developed a humble type of bag-and-tent chandeliers. From this derived the typical "Wiener Grüstl," a delicate frame of brass with modest chains of crystal for decoration. Pieces of this type feature a modest elegance through unpretentious use of decorative fittings.

The typical chandelier of the Biedermeier, the “Wiener Grüst’l”, has its cradle in our workshops in Salesianergasse back in the 1830s. A framework from carefully decorated sheet brass is garlanded with gentle strands of crystal. The brass is either highly polished and lacquered or allowed to darken with time.

Typical for the period the chandelier has a very modest composure but still emanates an elevated atmosphere as other more elaborate “bag and tent” chandeliers from the same period.

As with originals, the electrical wires are hardly but still visible atop the arms.

Influenced by French Empire Austria developed a humble type of bag-and-tent chandeliers. From this derived the typical "Wiener Grüstl," a delicate frame of brass with modest chains of crystal for decoration. Pieces of this type feature a modest elegance through unpretentious use of decorative fittings.

Influenced by French Empire Austria developed a humble type of bag-and-tent chandeliers. From this derived the typical "Wiener Grüstl," a delicate frame of brass with modest chains of crystal for decoration. Pieces of this type feature a modest elegance through unpretentious use of decorative fittings.

Influenced by French Empire Austria developed a humble type of bag-and-tent chandeliers. From this derived the typical "Wiener Grüstl," a delicate frame of brass with modest chains of crystal for decoration. Pieces of this type feature a modest elegance through unpretentious use of decorative fittings.

Two trends were predominant in the Jugendstil: The floral tradition was strongly influenced by organic shapes and created lofty and playful piece whereas the geometric tradition took the pride in clear and pure layouts of the lines. In both traditions we had the joy of applying our experience in crafts.

Two trends were predominant in the Jugendstil: The floral tradition was strongly influenced by organic shapes and created lofty and playful piece whereas the geometric tradition took the pride in clear and pure layouts of the lines. In both traditions we had the joy of applying our experience in crafts.

This chandelier is very elegant and precious. The brass parts are delicately embossed and decorated with cast ornaments. The black parts here are made from wood to contrast with the fiery gold. The kings gold finish is partly manually polished to give the surface even more contrast and its special shine.

The shape of the chandelier strongly reflects its more recent origin in Historism where the naturalistic gave way to more geometric furnishings.

Two trends were predominant in the Jugendstil: The floral tradition was strongly influenced by organic shapes and created lofty and playful piece whereas the geometric tradition took the pride in clear and pure layouts of the lines. In both traditions we had the joy of applying our experience in crafts.

This is a typical example of the stern type of geometric Jugendstil. Beside the square shades made with glass rods it also features the then so popular cut-out sheets with square holes.

The body is made from brass and is finely polished for an exquisite finish.

Through its modular construction the top part of the fixture can be fit to any height of room. The horizontal parts make the installation of additional flood lights to illuminate the ceiling feasible.

This chandelier is the main representative of a large number of items in the same general shape which were very prominently used for coffee shops and restaurants of the 50s to 70s in Vienna. It was designed by Oswald Haerdtl for the Prückel coffee house where it still crowns the main room.

A cart-wheel-shaped ring holds the light bulbs, which is then covered in a layer of exquisitely cut crystal pieces. This simple recipe opens to a wide variety of different interpretations of this idea.

In its location in the Prückel this chandelier is the most prominent landmark of this versatile design.

To one accustomed to Oswald Haerdtl’s long and slender shapes, this cute little chandelier strikes the eye as something special. With this fixture designed for the Hotel Ambassador he brings his floral and playful style into small rooms.

The brass frame is fashioned in the same branched way as other pieces of his design but confined to a little ceiling basket. The surface is finely polished. As crystal Haerdtl used leaf-shaped pieces in alteration with plain crystal beads.

Such he creates a lofty and light fixture which is perfectly fit for bed rooms or dressing rooms with low ceilings.

The Viennese Baroque style is a unique style of baroque chandeliers developed in the Austrian Empire at the end of the 18th century. This series is an adaption of the originals for lower ceilings.

The frame is of iron which is expertly wrought by hand. This is then leaf-gilded and clad with fitted glass bands or numerous crystal rosettes to augment the impression. To further enhance the brilliance it is decorated with the typical crystal pendants.

An important detail is then the number and size of these pendants. The crystal must never be overdone. But they must be selected in a size not to leave gaps between the arms which would have to be bridged with chains.

The Viennese Baroque style is a unique style of baroque chandeliers developed in the Austrian Empire at the end of the 18th century. This series is an adaption of the originals for lower ceilings.

The frame is of iron which is expertly wrought by hand. This is then leaf-gilded and clad with fitted glass bands or numerous crystal rosettes to augment the impression. To further enhance the brilliance it is decorated with the typical crystal pendants.

An important detail is then the number and size of these pendants. The crystal must never be overdone. But they must be selected in a size not to leave gaps between the arms which would have to be bridged with chains.

The modest Viennese Baroque features the elaborate crafting of iron, gilded with leaf gold. A significant example are the chandeliers in the Hofreitschule in Vienna. This technique was also influential the 1950s. We still manufacture this style in traditional materials using handed down techniques.

The Viennese Baroque style is a unique style of baroque chandeliers developed in the Austrian Empire at the end of the 18th century. This series is an authentic reproduction in all aspects but the electrical candles.

The frame is of iron which is expertly wrought by hand. This is then leaf-gilded and clad with fitted glass bands or numerous crystal rosettes to augment the impression. To further enhance the brilliance it is decorated with the typical crystal pendants.

An important detail is then the number and size of these pendants. The crystal must never be overdone. But they must be selected in a size not to leave gaps between the arms which would have to be bridged with chains.

The modest Viennese Baroque features the elaborate crafting of iron, gilded with leaf gold. A significant example are the chandeliers in the Hofreitschule in Vienna. This technique was also influential the 1950s. We still manufacture this style in traditional materials using handed down techniques.

The modest Viennese Baroque features the elaborate crafting of iron, gilded with leaf gold. A significant example are the chandeliers in the Hofreitschule in Vienna. This technique was also influential the 1950s. We still manufacture this style in traditional materials using handed down techniques.

The modest Viennese Baroque features the elaborate crafting of iron, gilded with leaf gold. A significant example are the chandeliers in the Hofreitschule in Vienna. This technique was also influential the 1950s. We still manufacture this style in traditional materials using handed down techniques.

The modest Viennese Baroque features the elaborate crafting of iron, gilded with leaf gold. A significant example are the chandeliers in the Hofreitschule in Vienna. This technique was also influential the 1950s. We still manufacture this style in traditional materials using handed down techniques.

The modest Viennese Baroque features the elaborate crafting of iron, gilded with leaf gold. A significant example are the chandeliers in the Hofreitschule in Vienna. This technique was also influential the 1950s. We still manufacture this style in traditional materials using handed down techniques.

The modest Viennese Baroque features the elaborate crafting of iron, gilded with leaf gold. A significant example are the chandeliers in the Hofreitschule in Vienna. This technique was also influential the 1950s. We still manufacture this style in traditional materials using handed down techniques.

When Vienna was struggling through the time after World War II Coffee Houses became once again the focal point of social life in a city in shambles. These establishments did not only offer coffee and snacks to their tenants. In post-war Vienna they were among the few locales that where heated and lit! Thus it appears logical that coffee houses gained a lot of attention from the interior design trade attracting important designers and receiving elaborate fixtures. Lobmeyr was among the most soughtafter suppliers for exquisite lighting. With the wide variety of fixtures of the cartwheel-type Lobmeyr could supply inexpensive yet magnificent lights to the cultural hot-spots. The “Langenzersdorf” fixture is one of the most classical and plain examples of this type. It can easily be adapted to any size and has a great potential for bespoke variants.

The most outstanding element of this item is the central column made from a massive brass pipe. This is then milled to create vertical undercuts in a regular pattern around the central body thus touching up the simple geometry. But the true significance lies in the valuable crystals used for the crest to embrace the lower portion. These crystals are large diamond-shaped elements in highest hand-cutting quality.

With its small size this chandelier is a perfect tool to enrich small rooms or highlight separate areas of a large one.

This precious little chandelier was designed for one Mr. Grimm. Unfortunately it was not passed down whether he had a brother.

When Lobmeyr, Swarovski and Riedl shared one location of production after World War II Hans Harald Rath was faced by a severe shortage of high quality crystal. So he approached Swarovski to use their cut beads instead of chandelier crystal. Initially met with astonishment this idea proved hugely successful and marked the start of a new era in chandelier making. With this product we created the first commercially successful implementation of Swarovski Crystal on chandeliers and laid the foundation for Swarovski’s success today.

The frame of brass is polished, the crystals are linked in the traditional wire-linking method for improved stability.

The Metropolitan Chandelier was designed by Hans Harald Rath for the Metropolitan Opera in New York. We were awarded the contract to deliver the chandeliers by the Republic of Austria as a donation in gratitude for the United States aid in the European Recovery Programme.

The inspiration for this design was supplied by the Architect of the Met, Edwar K. Harrisson who presented pictures of distant galaxies. As a first prototype to present the design the family myth reports of a potato with tooth picks. After over 40 years this line is still our best seller.

The Metropolitan Chandelier was designed by Hans Harald Rath for the Metropolitan Opera in New York. We were awarded the contract to deliver the chandeliers by the Republic of Austria as a donation in gratitude for the United States aid in the European Recovery Programme.

The inspiration for this design was supplied by the Architect of the Met, Edwar K. Harrisson who presented pictures of distant galaxies. As a first prototype to present the design the family myth reports of a potato with tooth picks. After over 40 years this line is still our best seller.