SKU: 22862802297
tall concrete plant pots

tall concrete plant pots Telluride Medium Planter

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Description

tall concrete plant pots Telluride Medium PlanterSpecifications Available in 3 colors, each sold separately Product Dimensions: 16. 75"W x 30. 25"H Base: 12. 25"W Weight: 165 lbs. Inside Dimensions: Top: 15"W Bottom: 5"W Height: 30. 25" One drainage hole, centered, approximately 3 4" Available in Brown, Grey and Charcoal finishes Makes a beautiful focal point for your garden setting, either filled with beautiful blooms or greens or left empty as a wonderful accent piece Manufactured with a high

Specifications
  • Available in 3 colors, each sold separately
  • Product Dimensions: 16.75"W x 30.25"H / Base: 12.25"W / Weight: 165 lbs.
  • Inside Dimensions: Top: 15"W / Bottom: 5"W / Height: 30.25"
  • One drainage hole, centered, approximately 3/4"
  • Available in Brown, Grey and Charcoal finishes
  • Makes a beautiful focal point for your garden setting, either filled with beautiful blooms or greens or left empty as a wonderful accent piece
  • Manufactured with a high density yet lightweight concrete cast stone mix
  • Finish/Stain is hand applied by trained artisans
  • Features unique designer detail and superior craftsmanship
  • Weathers naturally outdoors
  • Made in the USA

Due to the nature of concrete, there is very little that can go wrong with it as long as it's properly cared for. For this reason, Campania does not offer a warranty for their products. Our 15+ years of experience has shown that Campania's products are more than capable of withstanding the test of time. These products are designed to last well over 40 years, and will as long as proper care is provided for them.

In the winter, if a planter is to remain planted, it should be raised up off the ground making sure not to block the drainage hole. This allows the planter to drain and will prevent the planter from freezing to the ground. If the planter is not to be planted, it should be brought inside a garage or shed. If this is not possible, follow the steps above, but turn the planter upside down to prevent it from filling with snow and ice. It should then be covered or wrapped with burlap or any absorbent material (old blanket/towel) and then wrapped with dark plastic to prevent it from accumulating moisture.

    Description

    Lightweight Concrete

    Campania proudly manufactures its cast stone products in the USA using locally sourced materials. All of our cast stone pieces are manufactured using the wet casting technique with a proprietary high density cast stone mix, yielding a PSI strength of approximately 7,500. Our cast stone products may qualify for LEED credits as applicable to your project. Cast stone produces a strong and durable product that will weather naturally in an outdoor environment. Simply stated, cast stone is chosen for its beauty and authenticity. Our material is natural, authentic, made in the USA, and 100% recyclable. These planters are often specified for hospitality projects, large scale public space installations, pedestrian and traffic safety, and other custom projects. Although we recommend that you take advantage of the quick turnaround of our stocked product; these shapes, finishes, and/or sizes are not always right for every job. Campania has the capability to produce custom molds and colors in our Pennsburg, PA factory.

    Campania is pleased to introduce a new collection of lightweight poured glass fiber reinforced concrete manufactured at our facility in Pennsburg, Pennsylvania. Unlike our cast stone, glass fibers replace stone aggregate to create a strong and durable product with a thinner profile and lighter weight.

    Shipping Notes
    • Free Standard Shipping on $100+ Orders to the USA.
    • Except Preorder products are shipped in 48 hours.
    • Delivery to the USA:
    1. Standard Shipping : 3-10 business days
    • If time is of the essence, please consider selecting expedited delivery for faster service.
    Exchange/Return Notes
    • We offer a 30-day return/exchange service after receiving.
    • Final sale items are not eligible for returns or exchanges.
    • To process your return/exchange, please contact us at [email protected]
    • Please click here for more details>>> Return & Exchange Policy
    SKU: 22862802297

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    4.7 ★★★★★
    Based on 11 reviews
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    M
    Verified Purchase
    Mr. Watkins
    Los Angeles, US
    ★★★★★ 5
    Classic Terry Gilliam- Watch It!
    One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on April 27, 2026
    M
    Verified Purchase
    ***moviemaker***
    Alexandria, US
    ★★★★★ 5
    BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
    ] On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters. (Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.) All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut. Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985. I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail: *In the 132-minute version you cut from Sam in bed with Jill, police sack goes over head, then CUT TO Pull off police sack to reveal Sam in Torture Chamber/Interrogation chair. This one cut is simply brilliant and very powerful. In the Criterion Version you have the added scene of Mr. Helpman as Father Christmas (completely out of charcater from the rest of the film) and the whole interrogation scene of Sam hanging from the rack inside the police/mail pouch which becomes narratively redundant and dilutes the impact of the final scene. *To end it with cooling tower/interrogation room fade to clouds was a great Gilliam wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to the European cut of just credits over cooling tower/interrogation room. *The Samurai Scene is divided into 3 separate scenes in the 132-minute version versus 1 LONG scene in the European cut. And you know what? Like most things, it works better in 3's. *The 132-minute version cuts straight to the Dinner Scene with Ida (his mother) ordering numero deux, trois, etc. while the European version has the entrance to the restaurant of going through the metal detector which really doesn't add anything and is again a bit redundant when the bomb does eventually go off in the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert. *And finally I just love that the 132-minute version opens on those clouds (outtakes from The Never-Ending Story) then goes to the Central Services advert about Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version also has the clouds opening (The Original European Cut didn't) but it's funny because the Studio asked Gilliam to start off with the clouds for the US Cut and he actually prefers it as quoted in his Director's commentary. Hilarious. Little changes that add up to a tighter and overall, better film.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on July 12, 2011
    W
    Verified Purchase
    W.P.
    Massapequa, US
    ★★★★★ 5
    Great cast; well directed
    Great movie; lives up to its reviews
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on March 25, 2026
    B
    Verified Purchase
    Basket Case
    Birmingham, US
    ★★★★★ 5
    An ageless classic !
    I hadn't re-watched this movie since the first time I saw it, when it came out in 1985. Back then, it had stricken the public with its fatalistic and pessimistic view of an overwhelming bureacracy, a suggested characteristic of fully-centralised power in a controlled society in the future. Today, we can still admire some of its validity and premonitory qualities (and the sarcastic humour !). The dream-like scenes and symbols used in the film are also ageless. Ever-growing computer systems govern today the relationships we hold with banks, government departments, utilities, phone companies, etc. Who hasn't experienced the frustration of dealing with their 'machines' and/or incompetent & robotic bureaucrats when problems or errors arise in their service? 'Brazil' will seem so familiar! The omni-presence of screens in our lives, everywhere and incessantly offering us products or services, or used to control our movements and behaviour, is also a well-guessed futuristic scenario by Gilliam & co. And what to say about the 'terrorism' and the 'permanent state of fear' portrayed back then? Sounds familiar today? I recommend this movie to anyone interested in the threats of an unbridled, arrogant and all-powerful bureaucracy in human society. The film can be a bit 'heavy' at times, though. Not everyone's cup of tea. Watch it first, before sharing with friends or family.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on February 19, 2012
    J
    Verified Purchase
    johnf
    Lexington, US
    ★★★★★ 5
    The music is lovely, Catherine Deneuve is beautiful and the story will tear you apart.
    The word "Masterpiece" is thrown about often in the worlds of film and music but in this case this is the real thing. The Umbrellas of Cherbourg is one of those rare instances where everything came together in a film in a serendipitous way that would never be duplicated. Not only that, but made by two up and coming young men who had only done two films before with a cast of mostly unknowns. Then, to top it all off, it would not just be a musical, but a film sung completely through like opera, something completely unique and untried. Try selling a concept like that to one of today's studios. Fortunately the early sixties was a much looser time with many movie studios and open minds willing to try new things. The director was Jacques Demy, whose first film, Lola (1961) included music but was shot in the more usual black and white. His co-creator was Michel Legrand, already known as a jazz pianist who had had hit albums and even toured America. The music would be light,, but not operetta; it would be updated to include strong influences of chanson, pop and jazz with a little Baroque counterpoint thrown in (Legrand had been classically trained). This time the film would be shot in super-saturated color with sets painted vibrant, almost expressionist colors. And it all would center around a young and virtually unknown Catherine Deneuve and Nino Castelnuovo as Genevieve and Guy, the very personification of young love in a rainy Spring. The resulting film is completely transporting. The story is very old, the treatment very new and the end result is something to be experienced. The singing somehow seems completely natural, more natural in a way, than films with spoken dialogue that break into songs from time to time. Here in a world of continuous music, love has turned everything into a dizzily colored poem that peaks when Guy is to be sent away to fight in the war in Algeria. Fate takes a big hand in the consequences creating unforseen results. The supporting cast are as good as the principals, with Anne Vernon (Madame Emery) the veteran of many films and Marc Michel (Roland Cassard) coming in having played the same character in Lola, a signature quirk of the director. The music produced two early sixties hits, I Will Wait For You and Watch What Happens. Mr. Legrand's familiarity with the worlds of pop and jazz kept everything fresh-sounding and up to date. You also note subtle touches like the opening jazzy music set in 1957 is very brassy and big band sounding while in the 1963 final scene it's the cool jazz of that time. The colors are so captivatingly brilliant that when establishing shots of the actual Cherbourg are shown it seems like another world. If you like romances, this is one of the classics. If you are open to musicals you will have no trouble with the fact that the entire film is sung. This is a most memorable and worthy film.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on January 31, 2016

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