A new perspective
Light changes everything
Discover sculptural lighting designed to bring warmth, character, and atmosphere to every room.
Lisbeth Fluted Alabaster Wall Sconce A slim column of alabaster on a wall, and nothing else on it — no ornament, no visible hardware, no bulb to look at. Alabaster is translucent, so light travels through the stone rather than escaping around its edges. The whole face glows, veining and all, and there is no bright point anywhere to squint at.
The one detail is the fluting. Ribs make the stone thinner along each crest and thicker in each groove, and thin stone passes more light than thick — so the face lights in bands rather than as one flat panel. Unlit, the same ribs catch daylight and cast their own small shadows, which is why it still reads as carved stone at midday. Warm white light at 3000K, built in — no bulb to buy or replace. For a bedside, a hallway, a stair wall, or a pair either side of a mirror.
No two pieces of stone are ever the same
Alabaster is a natural stone, so every piece carries its own veining and subtle variation in color. The fixture you receive may therefore differ slightly from the images shown.

Select the size marked (*2) — two together come at a better price than buying them separately.
Light travels through the stone rather than out of a bulb, so there is no hot spot anywhere on the face — which is the whole appeal, and also the trade. It gives ambient light rather than task light. If you read in bed regularly, plan a reading lamp alongside it.
The standard fixture runs from a normal wall switch. A dimmable version is made to order, and because the LED is integrated it has to be built that way — it cannot be converted afterwards by changing a bulb or a switch. Tell us before you order and we will build it dimmable and confirm which dimmer to use.
The quiet one. Sits below eye level beside a bed.

Six inches taller, same footprint. Reads as a column of stone.
Every plate is different, so the one that arrives won't match these photographs exactly. That is what real stone does.
If you want it paler and more even, or with more grey movement, or warmer in tone — tell us before you order and we'll select the stone to suit. Send a photo of your room and we'll pick something that sits with it.
What we can't do is copy a picture. We can choose a direction, not reproduce a pattern. Email support@vidirlighting.com

Everything else was taken away.
A slim column of stone on a wall, and nothing else on it — no ornament, no visible hardware, no bulb to look at. What is left is a single decision: the face is fluted rather than flat. That one detail is the whole design, and it is there because it does something, not because it decorates.
Alabaster is translucent, so light travels through the body of the stone rather than escaping around its edges. A flat panel of it glows evenly — and evenly is another word for flat. Fluting varies the thickness across the face: thinner along each ridge, thicker in the valley between. Thin stone passes more light than thick stone. So the piece lights in bands, bright down the crests and deeper in the grooves, and a still object acquires movement.
It works the same way unlit. The same ribs catch daylight and cast their own small shadows, which is why this reads as carved stone at midday rather than as a dark panel waiting for the evening. Most wall lights have nothing to say for the sixteen hours they are switched off.
And the stone itself was decided long before anyone cut it. Set three of these side by side and the difference is obvious — grey drift through one face, warm amber through the next. The one that arrives will not be the one in these photographs. On a piece this reduced, that variation is not a flaw in the finish. It is the only ornament there is.
The stone, the light, and where it goes on the wall.
Three checks you can do the day it arrives. Weight — stone is noticeably heavier than resin for the same size. Temperature — stone feels cool and stays cool; resin warms to your hand within seconds. Veining — real veining differs on every piece and runs through the material, so it looks different lit and unlit. Printed or moulded veining repeats and looks the same either way.
No, and that is worth being straight about. Light travels through the stone, so there is no hot spot anywhere on it — which is the whole appeal, and also the trade. It gives ambient light rather than task light.
Beside a bed it is perfect for the last hour of the evening. If you read in bed properly, plan a reading lamp alongside it.
Beside a bed: centre at 48–52″ from the floor — roughly eye level sitting up.
Everywhere else: 60–66″. Flanking a mirror, mount a pair 28–40″ apart, leaving 6–8″ clear of the mirror edge. In a hallway, one every 8–10 ft, all at the same height.
Cleaning: a dry soft cloth only. Never anything damp. Alabaster is porous — water, sprays and polish soak in and leave marks that do not come out. Twice a year is plenty.
Dimming has to be decided before you order. The LED is built in, so a dimmable version is made that way — it cannot be converted later by changing a bulb or a switch. Tell us when you order and we will build it dimmable and confirm which dimmer to use.
Bathrooms: on a vanity wall, yes. Not in a shower or above a bath — IP20, no water protection, and stone and standing damp are a bad pair regardless.
Not sure how to wire it, how high to hang it, or whether you need an electrician? Our full guide walks through every step for US homes.
Switch off at the breaker and confirm before you touch any wiring.
Make sure your junction box is standard, secure, and rated for the weight.
Black to black, white to white, ground to ground — the US standard explained.
Mounting heights and clearances for sconces, pendants, and chandeliers.
A sconce lights the wall. These two put the same alabaster overhead and on the floor — and because it is one material, they agree with each other without having to match.

The same glow overhead, in quantity. Where the sconce is one face of stone, this is dozens of plates in descending tiers — so the veining variation you see on one sconce becomes something you can read from across the room. For the table the sconce is standing beside.
Stone at floor level, stacked like the cairn it is named after. It holds a corner rather than a wall, and it is the only one of the three that needs no electrician — useful in a rented room, or anywhere you would rather not open a wall.
Lisbeth Fluted Alabaster Wall Sconce A slim column of alabaster on a wall, and nothing else on it — no ornament, no visible hardware, no bulb to look at. Alabaster is translucent, so light travels through the stone rather than escaping around its edges. The whole face glows, veining and all, and there is no bright point anywhere to squint at.
The one detail is the fluting. Ribs make the stone thinner along each crest and thicker in each groove, and thin stone passes more light than thick — so the face lights in bands rather than as one flat panel. Unlit, the same ribs catch daylight and cast their own small shadows, which is why it still reads as carved stone at midday. Warm white light at 3000K, built in — no bulb to buy or replace. For a bedside, a hallway, a stair wall, or a pair either side of a mirror.
No two pieces of stone are ever the same
Alabaster is a natural stone, so every piece carries its own veining and subtle variation in color. The fixture you receive may therefore differ slightly from the images shown.

Select the size marked (*2) — two together come at a better price than buying them separately.
Light travels through the stone rather than out of a bulb, so there is no hot spot anywhere on the face — which is the whole appeal, and also the trade. It gives ambient light rather than task light. If you read in bed regularly, plan a reading lamp alongside it.
The standard fixture runs from a normal wall switch. A dimmable version is made to order, and because the LED is integrated it has to be built that way — it cannot be converted afterwards by changing a bulb or a switch. Tell us before you order and we will build it dimmable and confirm which dimmer to use.
The quiet one. Sits below eye level beside a bed.

Six inches taller, same footprint. Reads as a column of stone.
Every plate is different, so the one that arrives won't match these photographs exactly. That is what real stone does.
If you want it paler and more even, or with more grey movement, or warmer in tone — tell us before you order and we'll select the stone to suit. Send a photo of your room and we'll pick something that sits with it.
What we can't do is copy a picture. We can choose a direction, not reproduce a pattern. Email support@vidirlighting.com

Everything else was taken away.
A slim column of stone on a wall, and nothing else on it — no ornament, no visible hardware, no bulb to look at. What is left is a single decision: the face is fluted rather than flat. That one detail is the whole design, and it is there because it does something, not because it decorates.
Alabaster is translucent, so light travels through the body of the stone rather than escaping around its edges. A flat panel of it glows evenly — and evenly is another word for flat. Fluting varies the thickness across the face: thinner along each ridge, thicker in the valley between. Thin stone passes more light than thick stone. So the piece lights in bands, bright down the crests and deeper in the grooves, and a still object acquires movement.
It works the same way unlit. The same ribs catch daylight and cast their own small shadows, which is why this reads as carved stone at midday rather than as a dark panel waiting for the evening. Most wall lights have nothing to say for the sixteen hours they are switched off.
And the stone itself was decided long before anyone cut it. Set three of these side by side and the difference is obvious — grey drift through one face, warm amber through the next. The one that arrives will not be the one in these photographs. On a piece this reduced, that variation is not a flaw in the finish. It is the only ornament there is.
The stone, the light, and where it goes on the wall.
Three checks you can do the day it arrives. Weight — stone is noticeably heavier than resin for the same size. Temperature — stone feels cool and stays cool; resin warms to your hand within seconds. Veining — real veining differs on every piece and runs through the material, so it looks different lit and unlit. Printed or moulded veining repeats and looks the same either way.
No, and that is worth being straight about. Light travels through the stone, so there is no hot spot anywhere on it — which is the whole appeal, and also the trade. It gives ambient light rather than task light.
Beside a bed it is perfect for the last hour of the evening. If you read in bed properly, plan a reading lamp alongside it.
Beside a bed: centre at 48–52″ from the floor — roughly eye level sitting up.
Everywhere else: 60–66″. Flanking a mirror, mount a pair 28–40″ apart, leaving 6–8″ clear of the mirror edge. In a hallway, one every 8–10 ft, all at the same height.
Cleaning: a dry soft cloth only. Never anything damp. Alabaster is porous — water, sprays and polish soak in and leave marks that do not come out. Twice a year is plenty.
Dimming has to be decided before you order. The LED is built in, so a dimmable version is made that way — it cannot be converted later by changing a bulb or a switch. Tell us when you order and we will build it dimmable and confirm which dimmer to use.
Bathrooms: on a vanity wall, yes. Not in a shower or above a bath — IP20, no water protection, and stone and standing damp are a bad pair regardless.
Not sure how to wire it, how high to hang it, or whether you need an electrician? Our full guide walks through every step for US homes.
Switch off at the breaker and confirm before you touch any wiring.
Make sure your junction box is standard, secure, and rated for the weight.
Black to black, white to white, ground to ground — the US standard explained.
Mounting heights and clearances for sconces, pendants, and chandeliers.
A sconce lights the wall. These two put the same alabaster overhead and on the floor — and because it is one material, they agree with each other without having to match.

The same glow overhead, in quantity. Where the sconce is one face of stone, this is dozens of plates in descending tiers — so the veining variation you see on one sconce becomes something you can read from across the room. For the table the sconce is standing beside.
Stone at floor level, stacked like the cairn it is named after. It holds a corner rather than a wall, and it is the only one of the three that needs no electrician — useful in a rented room, or anywhere you would rather not open a wall.

Natural stone lighting
The Vidir lighting edit
Most shades block light and let it out at the edges. Yet, this stone-textured lampshade manages to achieve exactly that.
Alabaster is translucent. Switch it on and the whole shade lights up from within, veining and all, instead of glowing only where the bulb sits. There is no bright spot to look at, because the light source is the entire surface.
The veining was decided underground, long before anyone cut it. Every shade carries its own pattern and its own faint colour shift — so the piece that arrives is not the piece in the photograph, and that is the point.
Resin and acrylic imitations go amber and brittle within a few years of sitting next to a warm bulb. Stone does not age that way. The shade you unpack is the shade you will have in twenty years.
Designed for better living
Use warm white (2700K). The stone itself has an off-white, creamy tone; cool light passing through it makes it look grayish and dingy, whereas warm light brings out that honey-like hue seen in the photos.
Alabaster is a natural stone that absorbs water and cleaning agents, which can leave permanent stains. Disconnect the power, let the bulb cool down, and then wipe the fixture with a soft, dry cloth—do not use water or spray cleaners.
The density of the stone is far greater than that of a glass shade of the same size; ensure the ceiling's load-bearing capacity is sufficient for safety.
A new perspective
Discover sculptural lighting designed to bring warmth, character, and atmosphere to every room.
Our product
Alabaster Cylindrical Chain Chandelier
Alabaster is translucent, so the light travels through the stone rather than escaping at the edges — the whole shade glows, veining and all. Every piece carries a pattern that was decided underground, which is why no two are alike.
Resin is cast in moulds, so the "veining" repeats from one shade to the next and the light passes through evenly with no depth to it. It also ages differently: sitting close to a warm bulb, resin tends to amber and grow brittle within a few years.
THE ART OF ALABASTER
The natural texture of alabaster brings a warm, mineral quality to the space. (Please contact us if you require a specific texture.)
A pure white texture reminiscent of fresh snow—warm, smooth, and refined.
Deep, inky patterns flow across a white base.
A dynamic pattern resembling a bolt of lightning streaking across the sky.
Fine, intricate cracks evoking the aesthetic beauty of a sheet of ice at the moment it shatters.
A pattern as light and airy as falling snowflakes, with every single flake unique.
Material · Method · Light
Every texture tells a story of natural light and patient craftsmanship.





Crafted from select natural alabaster, preserving its unique veining.
Meticulously cut and shaped by artisans.
Repeatedly ground and polished for a smooth, refined texture.
Carefully assembled and quality-inspected.
Custom Stone Lighting

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