The Ivor Discus Glass Ring Chandelier sets hand-textured glass discs in two rings around a Gold-tone frame — each one a shallow dish, turned outward, with a wide diffuser bowl closing the fixture underneath.
The discs are not shades. They are reflectors. The light sits behind them on the frame, so each disc catches it on its inner face and throws it back out into the room. What you see from across a room is a ring of small lit dishes rather than a bulb behind coloured glass — and the colour reads as depth, because you are looking at light that has bounced rather than light that has passed straight through.
Underneath, a single wide bowl of textured glass does the opposite job. It collects the light that goes downward and spreads it across a table or a floor, soft and even, with nothing to look into. So the fixture works on two levels at once: discs throwing colour outward at eye height, a bowl pouring warm light down.
Specifications
The Details
MaterialMetal Frame · Hand-Textured Glass Discs The hammered surface is worked into the glass while it is still soft, so it sits in the material rather than on it.
Frame finishGold
Glass colourwaysAmberGreen Amber warms a room toward evening; olive is the rarer, cooler choice.
Glass pieces∅ 23.6″25 pieces · 12 small + 12 medium + 1 bowl∅ 31.5″33 pieces · 16 small + 16 medium + 1 bowl∅ 39.4″41 pieces · 20 small + 20 medium + 1 bowl Discs at ∅ 4.7″ and ∅ 5.5″; the diffuser bowl is ∅ 17.3″, ∅ 25.2″, ∅ 31.5″ on every size.
Light sourceLED or Edison bulb E12 / E14 base. Warm white (2700K) recommended — cooler light flattens the texture and dulls the colour.
ControlWall switch Dimmable when fitted with compatible dimmable bulbs on a dimmer circuit.
Suspension150 cm / 59″ Chain — adjustable at installation Links removed on site to set the drop; extra length supplied on request.
MountingCeiling — hardwired Mounts to a standard junction box. No cord or plug; professional installation recommended.
EnvironmentIndoor · dry locations
Preparation time5–10 days Made and inspected at our own workshop before dispatch.
Good to Know
Two disc sizes, and one bowl that never changes
Every version uses two sizes of disc — ∅ 4.7″ and ∅ 5.5″ — set in two rings, which is what stops the ring reading as a flat band of identical circles. The larger discs catch the light head-on while the smaller ones hold it at a slant, so walking past changes what you see.
The diffuser bowl underneath is ∅ 17.3″ on all three sizes. That is worth knowing if you are choosing the smallest: the downward light is not scaled down with the fixture, so the ∅ 23.6″ version still pours the same generous pool onto a table.
Hand-textured glass varies disc to disc
The surface of every disc is worked by hand, so the depth of the texture and the saturation of the colour differ slightly from one to the next. The piece you receive will not match the photographs exactly — silhouette, dimensions, finish and colour family stay consistent, individual discs do not. From across the room the ring reads as one form; stand close and every disc is its own.
Size Guide
Which Size for Your Space
Three diameters, and the count of glass tells you more than the inches do — twenty-five discs at the smallest, forty-one at the largest. Every version is shallow for its width, so going larger costs you almost nothing in headroom.
Discs — every version∅ 4.7″ and ∅ 5.5″Two sizes in equal numbers, set in two staggered rings.
The three diffusion bowls have diameters of ∅ 17.3″, ∅ 25.2″, and ∅ 31.5″.
ColourwaysAmber · Olive GreenBoth available in all three sizes, on a brushed gold frame.
∅ 23.6″
25pieces of glass∅ 23.6″ × H 11.8″ · ∅ 60 × H 30 cm
Lamps9 × E12 / E14
Round table31–35″ (79–89 cm) across
Room sizeAbout 11 × 13 ft
Ceiling8–10 ft
∅ 31.5″Popular
33pieces of glass∅ 31.5″ × H 11.8″ · ∅ 80 × H 30 cm
Lamps12 × E12 / E14
Round table42–47″ (107–119 cm) across
Room sizeAbout 14 × 17 ft
Ceiling9–11 ft
∅ 39.4″
41pieces of glass∅ 39.4″ × H 12.6″ · ∅ 100 × H 32 cm
Lamps16 × E12 / E14
Round table53–59″ (134–150 cm) across
Room sizeAbout 18 × 21 ft or larger
Ceiling10–12 ft
Sizing Tip
For a round table, select a diameter that is two-thirds to three-quarters of the table's width. If the table is in an open-plan room, add the length and width (in feet) together and convert the sum into inches.
One thing that argues for the smallest, and nobody else will tell you: the diffuser bowl underneath is ∅ 17.3 in on every version. The downward light is not scaled down with the fixture, so the ∅ 23.6 in still pours the same generous pool onto a table as the ∅ 39.4 in does. What you gain by going larger is the ring — more discs, more reflected colour, more presence in the room.
The Craft
Shaped by Breath & Fire, Not a Machine
Every ribbed glass tube is shaped by hand — which is exactly why the light looks the way it does.
Hand-Blown Glass
Molten Glass, Shaped by Hand
Each ribbed tube begins as a glowing gather of molten glass on the end of a blowpipe. A glassmaker breathes it into shape by hand, turning and drawing the fluted ribs while the glass is still soft. It's slow, skilled work — and it leaves each piece with a life that machine-pressed glass simply can't have. See the same breath-shaped ribs in the Addis Star-Shaped Glass Tubes Chandelier.
Ribs That Catch the Light
Shaped by hand, the fluted ribs bend and scatter every beam, casting rippling patterns of light and shadow across your walls — a texture flat glass can't reproduce.
Depth & Clarity
The glass carries a substantial, thick-walled clarity with real depth — it refracts a soft glow even in daylight, never the thin, hollow look of acrylic.
Made, Not Manufactured
Every ribbed tube carries the trace of a maker's hand and breath — an artisan piece, not a molded copy stamped out by the thousand.
Why this chandelier
A Ring That Performs, a Bowl That Works
Two rings of hand-textured discs turned outward, and a single wide diffuser underneath doing an entirely different job.
01
Two Jobs, Two Sets of Glass
Most chandeliers ask the same glass to look good and to light a table, and one of the two ends up compromised. This one splits the work. The discs face outward and hold the light on their faces — that is what you see from across a room. The bowl underneath faces straight down and spreads a wide, even pool onto whatever is beneath it. Show above, work below.
02
Two Disc Sizes, Staggered
Every version uses two sizes of disc in equal numbers, set in two rings rather than one — larger above, smaller below, offset from each other. That is what stops the ring reading as a band of identical circles: some discs catch the light head-on while others hold it at a slant, so walking past changes what you are looking at. The hammered surface does the rest, breaking what each one holds into dozens of small bright points rather than one flat sheen.
03
Amber or Olive, Two Different Rooms
Amber warms everything it touches and pushes a room toward evening — the safer choice, and the one that suits oak, cream and warm stone. Olive green is the rarer decision: cooler, stranger, and almost nobody in lighting makes it, which is precisely why a room with one in it does not look like anyone else's. Both sit on the same brushed gold frame, and in both the colour pools dark where the glass runs thick and lifts almost clear at the centre, so every disc carries its own gradient.
— Hand-textured glass, set in two rings on brushed gold —
The Glass
Textured by Hand, Not by Machine
Most coloured glass discs on the market are pressed in a mould, a thousand at a time. Here is what changes when the texture is worked in by hand instead — including the one thing pressed glass does better.
Hand-Textured GlassMachine-Pressed Glass
The surfaceHammered while the glass is still soft, so the dents sit in the glass and every disc is slightly differentStamped from one mould — the same pattern, in the same places, on every disc
The colourDark at the thick rim, almost clear at the thin centre — each disc has a gradient in itOne flat shade across the whole disc, because the thickness is machined even
LitThe uneven surface breaks the light into dozens of small bright pointsOne smooth sheen across the face; the light does not move as you do
Walking pastEvery disc catches the light at its own angle, so the ring keeps changingAll the discs behave the same way at once — it looks the same from everywhere
MatchingNo two discs are quite alike, and a replacement will not match the original exactly. Pressed glass genuinely wins hereEvery disc is identical, so a replacement blends in invisibly. That certainty is real and worth saying
Over timeThe colour is in the glass itself — it cannot chip, peel or fade with heatCheaper versions are sprayed or coated after moulding, and that layer can chip or fade
In the handYou can feel the texture with a fingertip, and the rim is noticeably thicker than the middleSmooth to the touch apart from the moulded pattern, and the same thickness all over
Questions, Answered
Common Questions
Will mine look exactly like the photographs?
Very close, but not identical — and that is the point of hand-worked glass. The texture and the depth of colour vary slightly from disc to disc, so no two fixtures leave the workshop the same.
What stays consistent: the size, the shape, the finish and the colour family. What varies: the individual discs. From across a room the ring reads as one form; stand underneath and every disc is its own.
How bright is it?
Nine, twelve or sixteen bulbs depending on size — a generous number, and a necessary one, because coloured glass absorbs light as well as colouring it. Fitted with warm-white bulbs, any of the three lights a dining room comfortably as the main fixture.
The wide bowl underneath does most of the practical work: it spreads an even pool downward with no bright spot and nothing to look into. The discs around the ring are what you see rather than what you read by.
Amber or olive green?
Amber warms everything around it and pushes a room toward evening — easy to live with, and it sits naturally with oak, cream and warm stone. Olive green is the braver choice: cooler, more unusual, and almost nobody in lighting makes it, which is exactly why a room with one in it does not look like everyone else's. Both come on the same brushed gold frame.
What bulbs does it take?
E12 or E14 candle-base bulbs, LED or Edison style, not included — nine, twelve or sixteen depending on the size you choose. Use a warm white: cooler light flattens the texture and drains the colour, which is the opposite of what you want on glass like this.
Can it be dimmed?
Yes, if the bulbs are dimmable. Fit dimmable bulbs on a dimmer switch and the whole fixture dims together; ordinary bulbs will not. On the largest size there are sixteen bulbs, so check the total wattage against what your dimmer is rated for, and use dimmable bulbs throughout rather than a mix.
Which size should I choose?
Over a round table, take about two thirds of the table width: 23.6 in over a table of 31–35 in, 31.5 in over 42–47 in, 39.4 in over 53–59 in. In an open room, add the room's length and width in feet and read the total as inches. All three are under 13 in tall, so going up a size costs width and almost no headroom — over a table, err larger.
Will my ceiling take the weight?
Check before ordering. Twenty-five to forty-one pieces of solid glass on a metal frame is heavier than it looks. Make sure your ceiling box is rated for the weight and properly supported — a standard box holds far less than most people expect, and the largest size may need a brace or a heavier box. We can send the exact weights if you ask.
How do I clean it?
A soft dry cloth for dust, barely damp for marks, wiping each disc and the bowl underneath. Work from the top down so dust falls away from what you have already cleaned. Avoid scouring pads and ammonia sprays — the hammered surface holds residue.
Switch off and let the bulbs cool completely first. Once or twice a year is plenty.
Ivor Discus Glass Ring Chandelier
SKU: VLP65022-1
Regular price
$1,195.00
Unit price
/per
No reviews
The price includes tax, and free standard shipping within the U.S. is provided.
The Ivor Discus Glass Ring Chandelier sets hand-textured glass discs in two rings around a Gold-tone frame — each one a shallow dish, turned outward, with a wide diffuser bowl closing the fixture underneath.
The discs are not shades. They are reflectors. The light sits behind them on the frame, so each disc catches it on its inner face and throws it back out into the room. What you see from across a room is a ring of small lit dishes rather than a bulb behind coloured glass — and the colour reads as depth, because you are looking at light that has bounced rather than light that has passed straight through.
Underneath, a single wide bowl of textured glass does the opposite job. It collects the light that goes downward and spreads it across a table or a floor, soft and even, with nothing to look into. So the fixture works on two levels at once: discs throwing colour outward at eye height, a bowl pouring warm light down.
Specifications
The Details
MaterialMetal Frame · Hand-Textured Glass Discs The hammered surface is worked into the glass while it is still soft, so it sits in the material rather than on it.
Frame finishGold
Glass colourwaysAmberGreen Amber warms a room toward evening; olive is the rarer, cooler choice.
Glass pieces∅ 23.6″25 pieces · 12 small + 12 medium + 1 bowl∅ 31.5″33 pieces · 16 small + 16 medium + 1 bowl∅ 39.4″41 pieces · 20 small + 20 medium + 1 bowl Discs at ∅ 4.7″ and ∅ 5.5″; the diffuser bowl is ∅ 17.3″, ∅ 25.2″, ∅ 31.5″ on every size.
Light sourceLED or Edison bulb E12 / E14 base. Warm white (2700K) recommended — cooler light flattens the texture and dulls the colour.
ControlWall switch Dimmable when fitted with compatible dimmable bulbs on a dimmer circuit.
Suspension150 cm / 59″ Chain — adjustable at installation Links removed on site to set the drop; extra length supplied on request.
MountingCeiling — hardwired Mounts to a standard junction box. No cord or plug; professional installation recommended.
EnvironmentIndoor · dry locations
Preparation time5–10 days Made and inspected at our own workshop before dispatch.
Good to Know
Two disc sizes, and one bowl that never changes
Every version uses two sizes of disc — ∅ 4.7″ and ∅ 5.5″ — set in two rings, which is what stops the ring reading as a flat band of identical circles. The larger discs catch the light head-on while the smaller ones hold it at a slant, so walking past changes what you see.
The diffuser bowl underneath is ∅ 17.3″ on all three sizes. That is worth knowing if you are choosing the smallest: the downward light is not scaled down with the fixture, so the ∅ 23.6″ version still pours the same generous pool onto a table.
Hand-textured glass varies disc to disc
The surface of every disc is worked by hand, so the depth of the texture and the saturation of the colour differ slightly from one to the next. The piece you receive will not match the photographs exactly — silhouette, dimensions, finish and colour family stay consistent, individual discs do not. From across the room the ring reads as one form; stand close and every disc is its own.
Size Guide
Which Size for Your Space
Three diameters, and the count of glass tells you more than the inches do — twenty-five discs at the smallest, forty-one at the largest. Every version is shallow for its width, so going larger costs you almost nothing in headroom.
Discs — every version∅ 4.7″ and ∅ 5.5″Two sizes in equal numbers, set in two staggered rings.
The three diffusion bowls have diameters of ∅ 17.3″, ∅ 25.2″, and ∅ 31.5″.
ColourwaysAmber · Olive GreenBoth available in all three sizes, on a brushed gold frame.
∅ 23.6″
25pieces of glass∅ 23.6″ × H 11.8″ · ∅ 60 × H 30 cm
Lamps9 × E12 / E14
Round table31–35″ (79–89 cm) across
Room sizeAbout 11 × 13 ft
Ceiling8–10 ft
∅ 31.5″Popular
33pieces of glass∅ 31.5″ × H 11.8″ · ∅ 80 × H 30 cm
Lamps12 × E12 / E14
Round table42–47″ (107–119 cm) across
Room sizeAbout 14 × 17 ft
Ceiling9–11 ft
∅ 39.4″
41pieces of glass∅ 39.4″ × H 12.6″ · ∅ 100 × H 32 cm
Lamps16 × E12 / E14
Round table53–59″ (134–150 cm) across
Room sizeAbout 18 × 21 ft or larger
Ceiling10–12 ft
Sizing Tip
For a round table, select a diameter that is two-thirds to three-quarters of the table's width. If the table is in an open-plan room, add the length and width (in feet) together and convert the sum into inches.
One thing that argues for the smallest, and nobody else will tell you: the diffuser bowl underneath is ∅ 17.3 in on every version. The downward light is not scaled down with the fixture, so the ∅ 23.6 in still pours the same generous pool onto a table as the ∅ 39.4 in does. What you gain by going larger is the ring — more discs, more reflected colour, more presence in the room.
The Craft
Shaped by Breath & Fire, Not a Machine
Every ribbed glass tube is shaped by hand — which is exactly why the light looks the way it does.
Hand-Blown Glass
Molten Glass, Shaped by Hand
Each ribbed tube begins as a glowing gather of molten glass on the end of a blowpipe. A glassmaker breathes it into shape by hand, turning and drawing the fluted ribs while the glass is still soft. It's slow, skilled work — and it leaves each piece with a life that machine-pressed glass simply can't have. See the same breath-shaped ribs in the Addis Star-Shaped Glass Tubes Chandelier.
Ribs That Catch the Light
Shaped by hand, the fluted ribs bend and scatter every beam, casting rippling patterns of light and shadow across your walls — a texture flat glass can't reproduce.
Depth & Clarity
The glass carries a substantial, thick-walled clarity with real depth — it refracts a soft glow even in daylight, never the thin, hollow look of acrylic.
Made, Not Manufactured
Every ribbed tube carries the trace of a maker's hand and breath — an artisan piece, not a molded copy stamped out by the thousand.
Why this chandelier
A Ring That Performs, a Bowl That Works
Two rings of hand-textured discs turned outward, and a single wide diffuser underneath doing an entirely different job.
01
Two Jobs, Two Sets of Glass
Most chandeliers ask the same glass to look good and to light a table, and one of the two ends up compromised. This one splits the work. The discs face outward and hold the light on their faces — that is what you see from across a room. The bowl underneath faces straight down and spreads a wide, even pool onto whatever is beneath it. Show above, work below.
02
Two Disc Sizes, Staggered
Every version uses two sizes of disc in equal numbers, set in two rings rather than one — larger above, smaller below, offset from each other. That is what stops the ring reading as a band of identical circles: some discs catch the light head-on while others hold it at a slant, so walking past changes what you are looking at. The hammered surface does the rest, breaking what each one holds into dozens of small bright points rather than one flat sheen.
03
Amber or Olive, Two Different Rooms
Amber warms everything it touches and pushes a room toward evening — the safer choice, and the one that suits oak, cream and warm stone. Olive green is the rarer decision: cooler, stranger, and almost nobody in lighting makes it, which is precisely why a room with one in it does not look like anyone else's. Both sit on the same brushed gold frame, and in both the colour pools dark where the glass runs thick and lifts almost clear at the centre, so every disc carries its own gradient.
— Hand-textured glass, set in two rings on brushed gold —
The Glass
Textured by Hand, Not by Machine
Most coloured glass discs on the market are pressed in a mould, a thousand at a time. Here is what changes when the texture is worked in by hand instead — including the one thing pressed glass does better.
Hand-Textured GlassMachine-Pressed Glass
The surfaceHammered while the glass is still soft, so the dents sit in the glass and every disc is slightly differentStamped from one mould — the same pattern, in the same places, on every disc
The colourDark at the thick rim, almost clear at the thin centre — each disc has a gradient in itOne flat shade across the whole disc, because the thickness is machined even
LitThe uneven surface breaks the light into dozens of small bright pointsOne smooth sheen across the face; the light does not move as you do
Walking pastEvery disc catches the light at its own angle, so the ring keeps changingAll the discs behave the same way at once — it looks the same from everywhere
MatchingNo two discs are quite alike, and a replacement will not match the original exactly. Pressed glass genuinely wins hereEvery disc is identical, so a replacement blends in invisibly. That certainty is real and worth saying
Over timeThe colour is in the glass itself — it cannot chip, peel or fade with heatCheaper versions are sprayed or coated after moulding, and that layer can chip or fade
In the handYou can feel the texture with a fingertip, and the rim is noticeably thicker than the middleSmooth to the touch apart from the moulded pattern, and the same thickness all over
Questions, Answered
Common Questions
Will mine look exactly like the photographs?
Very close, but not identical — and that is the point of hand-worked glass. The texture and the depth of colour vary slightly from disc to disc, so no two fixtures leave the workshop the same.
What stays consistent: the size, the shape, the finish and the colour family. What varies: the individual discs. From across a room the ring reads as one form; stand underneath and every disc is its own.
How bright is it?
Nine, twelve or sixteen bulbs depending on size — a generous number, and a necessary one, because coloured glass absorbs light as well as colouring it. Fitted with warm-white bulbs, any of the three lights a dining room comfortably as the main fixture.
The wide bowl underneath does most of the practical work: it spreads an even pool downward with no bright spot and nothing to look into. The discs around the ring are what you see rather than what you read by.
Amber or olive green?
Amber warms everything around it and pushes a room toward evening — easy to live with, and it sits naturally with oak, cream and warm stone. Olive green is the braver choice: cooler, more unusual, and almost nobody in lighting makes it, which is exactly why a room with one in it does not look like everyone else's. Both come on the same brushed gold frame.
What bulbs does it take?
E12 or E14 candle-base bulbs, LED or Edison style, not included — nine, twelve or sixteen depending on the size you choose. Use a warm white: cooler light flattens the texture and drains the colour, which is the opposite of what you want on glass like this.
Can it be dimmed?
Yes, if the bulbs are dimmable. Fit dimmable bulbs on a dimmer switch and the whole fixture dims together; ordinary bulbs will not. On the largest size there are sixteen bulbs, so check the total wattage against what your dimmer is rated for, and use dimmable bulbs throughout rather than a mix.
Which size should I choose?
Over a round table, take about two thirds of the table width: 23.6 in over a table of 31–35 in, 31.5 in over 42–47 in, 39.4 in over 53–59 in. In an open room, add the room's length and width in feet and read the total as inches. All three are under 13 in tall, so going up a size costs width and almost no headroom — over a table, err larger.
Will my ceiling take the weight?
Check before ordering. Twenty-five to forty-one pieces of solid glass on a metal frame is heavier than it looks. Make sure your ceiling box is rated for the weight and properly supported — a standard box holds far less than most people expect, and the largest size may need a brace or a heavier box. We can send the exact weights if you ask.
How do I clean it?
A soft dry cloth for dust, barely damp for marks, wiping each disc and the bowl underneath. Work from the top down so dust falls away from what you have already cleaned. Avoid scouring pads and ammonia sprays — the hammered surface holds residue.
Switch off and let the bulbs cool completely first. Once or twice a year is plenty.
I installed it at the turn of the staircase—a spot that used to be dark and unremarkable. Now, it’s become the most eye-catching little corner of my home.
I was initially worried the botanical design might look too fussy, but that’s not the case at all! The brass material lends a modern touch, while the leaf contours soften the room's harder lines. The design strikes the perfect balance.
Extremely secure packaging; arrived in perfect condition.
My biggest worry when buying fragile stone lighting is shipping damage. However, the packaging was incredibly robust, and everything—from the stone components to the chains—arrived in perfect condition. Customer service was also very responsive.
