Neoclassical Wall Sconces

Magnificent pair of Russian neoclassical gilt bronze two arm wall sconces. The 24 carat gold was applied thickly onto the bronze and is in pristine condition. The crystals are hand p...

This magnificent pair of neoclassical wall sconces is attributed to John Linnell, circa 1770. Inspired by the excavations of the time, circa 1760 Robert Adam introduced high Neoclass...

This extremely rare pair of giltwood girandole mirrored wall sconces is English and was produced in the early 19th century in the Adam style. A bra...

This Classic pair of Art Deco gunmetal wall sconce's was designed for "Purcell" by Karl Springer. This form comes in a few color and material variations. The gunmetal and clear Glass...

This exquisite pair of 18th century gilt bronze appliqués are for the distinguished collector. The detail pictures show all the hand chasing that was required after the casting proc...

A Fine Pair of French Louis XV style gilt Bronze double arm Wall sconces. Two arms decorated with feathers and bellflowers rise out of the faces of caryatids. The Lair shaped Backpla...

Very elegant pair of gilded bronze, brass and glass double arm wall sconces in the French neoclassical style of the 1950s by Jacques Adnet. The sconces are in excellent good conditi...

An elegant pair of French Neoclassical style sconces. The two-arm metal sconces are finely gild decorated and painted in a tortoise shell color tone adding a fashionable and stylish ...

A pair of bronze two-light neoclassical wall sconces. available an other pair with red decoration. Measurements: cm 48 x 22.

A pair of bronze two-light neoclassical wall sconces. available an other pair with red decoration. Measurements: cm 48 x 22.

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...

Circa 1910 Baroque Revival electric wall sconces in the shape of black and gold (Dore) wall mounted candlesticks decorated with leaves, flowers and a flaming urn.