Neoclassical Arrow Sconces

Early 20th Century Italian tole candle sconces of branches with cherries and leaves. Not wired.

A pair of vintage late 19th or early 20th century Baroque style carved wood sconces, featuring three arms with cherubs holding a candlestick. Electrified. A unique feature is the wax...

A pair of 1960s steel brutalist sconces with amber glass globes. Very sculptural with a large scale.

A chic pair of Maison Charles French sconces in steel. Steel shades with a dark steel finish.

A pair of Spanish gold-tone metal tubular sconces, with two Edison base sockets. Newly wired for US use, with new painted backplates. Two pairs of sconces available. Similar in style...

A pair of three-light gilt tole sconces, Spanish, circa 1950s or 1960s. Scrolling leaves form a central figure with three scolled arms ending in leaf bobeche and 'cups'. Rewired. Tak...

Pair of neoclassical two-light wall sconces, circa 1940s, metal and bronze, shapes as an arrow decorated with two arms.

Pair of Italian Neoclassic-style (19th Century) steel and gilt trimmed wall sconces with five lights and cross arrow designs. (PRICED AS Pair)

Superb pair of Andre Arbus style arrow sconces, wall lights in bronze with black & gold clip on Paper Shades. US Rewired and in working condition, each Sconce takes 2 light bulbs wi...

Pair of 1920s neoclassic two light sconces with original patina. Measurements: 17" Height 5" Depth 11" Width

Heavy molded brass with a deep antique patina, these sconces evoke nineteenth century interiors, though they date from the 1920's. Designed for electricity and bearing stylized, rat...

These pure white sconces sit upon torch like bases, illuminating the room in the fusion of classical and romantic forms, typical of the neoclassical period. Alabaster lighting was the first used electrical lighting in Europe, prized for its ability to softly diffuse light. As mentioned above, the Neo-Renaissance style was in reality an eclectic blending of past styles, which the architect selected on the whims of his patrons. In the true Renaissance era there was a division of labour between the architect, who designed the exterior highly visible shell, and others—the artisans—who decorated and arranged the interior. The original Italian mannerist house was a place for relaxation and entertaining, convenience and comfort of the interior being a priority; in the later Baroque designs, comfort and interior design were secondary to outward appearance. This was followed by the Neoclassical period, which gave importance to the proportions and dignity of interiors, but still lost the comfort and internal convenience of the mannerist period. It was during the Neo-Renaissance period of the 19th century that the mannerist comforts were re-discovered and taken a step further. Not only did the improved building techniques of the 1850s allow the glazing of formerly open loggias and arches with the newly invented sheets of plate glass, providing the first "picture windows", but also the blending of architectural styles allowed interiors and exteriors to be treated differently. It was at this time that the concept of "furnishing styles" manifested itself, allowing distinctions to be made between interior rooms...