SKU: 60399875106

UHP4566 Modern Indoor Chandelier, 18-3/8''H x 14-1/4"W x 14-1/4''D, Brushed Nickel Finish, Spartanburg Collection

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Description

UHP4566 Modern Indoor Chandelier, 18-3/8''H x 14-1/4"W x 14-1/4''D, Brushed Nickel Finish, Spartanburg CollectionPRODUCT OVERVIEW: What makes this product different? The UHP4566 brings a refined mix of modern geometry and rustic influence, something often missing in standard chandeliers. Its brushed nickel frame is complemented by a lightly distressed grey washed oak accent, creating harmony between sleek metal and organic texture. Unlike typical all metal fixtures, this blend suggests artisanal craftsmanship with a casually elegant warmth. The open design and

PRODUCT OVERVIEW:

What makes this product different?
The UHP4566 brings a refined mix of modern geometry and rustic influence, something often missing in standard chandeliers. Its brushed nickel frame is complemented by a lightly distressed grey-washed oak accent, creating harmony between sleek metal and organic texture. Unlike typical all-metal fixtures, this blend suggests artisanal craftsmanship with a casually elegant warmth. The open design and exposed candelabra bulbs provide bright, omni-directional illumination that feels both striking and inviting in contemporary or transitional interiors.

Why is this product worth the price?
The UHP4566 Spartanburg chandelier, with its blend of modern and rustic elements, offers enduring value. Its brushed nickel finish and grey washed oak accents speak to a design sophistication not found in mass-market fixtures. Constructed of steel, this fixture provides bright illumination perfect for dining rooms and bedrooms. Reviews mention the beautiful aesthetic. This Spartanburg chandelier is an investment in a piece designed to last, offering quality far beyond less expensive alternatives.

What value does this product offer over similar options?
The UHP4566 chandelier transcends ordinary geometric fixtures through its marriage of grey washed oak and brushed nickel—materials that whisper sophistication where competitors shout with cheap chrome. Its substantial steel construction and adjustable 72-inch chain accommodate various ceiling heights, while four candelabra lights create an intimate glow that mass-produced alternatives can't replicate. Urban Ambiance's UA Guarantee ensures this isn't just lighting—it's an heirloom that evlolves dinner conversations into memories worth keeping.

FIXTURE INFORMATION:
  • MODEL NUMBER: UHP4566
  • ALTERNATE MODEL NUMBER: BWP4566
  • PRODUCT COLLECTION: Spartanburg
  • INSTALL LOCATION: Indoor
  • FIXTURE TYPE: Chandelier
  • FINISH: Brushed Nickel
  • CONSTRUCTION MATERIAL: Steel
  • INSTALLATION HARDWARE INCLUDED: Yes
INSTALLATION INFORMATION:
  • FIXTURE BODY: 18-3/8''H x 14-1/4"W x 14-1/4''D
  • MIN HANGING HEIGHT: 20.875 (Learn More)
  • MAX HANGING HEIGHT: 91.375 (Learn More)
  • DOWNRODS INCLUDED: N/A
  • CHAIN LENGTH: 72 in. (Learn More)
  • ADDITIONAL RODS / CHAIN AVAILABLE: Yes
  • CEILING OR WALL PLATE DIMS: 5.12" x 5.12" x 0.75"
  • POWER WIRE LENGTH: 120 in (Learn More)
  • FIXTURE WEIGHT (IN LBS): 6.574 lbs.
  • LOCATION RATING: Dry Locations (Learn More)
  • SLOPED CEILING COMPATIBLE: Yes (Learn More)
  • REVERSIBLE (UP/DOWN) OPTION: No (Learn More)
  • VOLTAGE: 110/120 V (Learn More)
BULB INFORMATION:
  • DIMMABLE: Yes
  • NUMBER OF BULBS: 4
  • BULBS INCLUDED: No
  • MAX BULB WATTAGE: 60 W
  • ESTIMATED LUMENS PRODUCED: 3600
  • BULB BASE: E12 Candelabra Base
  • RECOMMENDED BULB SHAPE: B10
  • RECOMMENDED BULB COLOR TEMP: 2200-3000K
  • LED BULB COMPATIBLE: Yes
  • LIGHT DIRECTION: Omni-Directional
STYLE AND DESIGN INFORMATION:
  • SHADE CHARACTERISTICS: No Shade
  • FIXTURE SHAPE: Geometric
  • FIXTURE SHAPE: 0
COLLECTION DESCRIPTION:

The Spartanburg Collection of light fixtures combines clean, modern lines with rustic elements. The collection includes a flush mount ceiling light, chandeliers, and a wall sconce, all available in either matte black or brushed nickel and featuring a lightly distressed finish of grey washed oak. The ceiling light features a close-to-ceiling design and an airy design. Brushed nickel columns hold lights that glow brightly within the stately form, providing clear, bright illumination to bedrooms, hallways, foyers, and dining rooms. The close-to-ceiling design and the airy design of the flush mount light beautifully illuminate spaces in a casually elegant style. The chandeliers in the collection vary in design, with some featuring a circular frame suspended from brushed nickel down rods attached to a smaller ring coated in grey washed oak. Others highlight an open, angular frame suspended from an adjustable chain and simple round canopy. Regardless of the design, all chandeliers in the Spartanburg Collection hold candelabra lights that glow brightly within the stately form, making them lovely focal points in great rooms, dining rooms, and bedrooms. The Spartanburg wall sconce adds a unique touch to the collection. A lightly distressed grey washed oak panel highlights an oversize, rectangular backplate finished in subtle brushed nickel. A brushed nickel column holds a candelabra light that glows brightly, illuminating spaces in a casually elegant style. The larger scale and elegant look of the backplate’s faux wood-finished panel make this wall bracket the perfect accompaniment for great rooms, bedrooms, and dining rooms. Available in matte black and brushed nickel as flush mount ceiling lights, different variations of chandeliers, and wall sconces, the Spartanburg Collection blends functionality with aesthetic appeal, making it a suitable choice for various interior styles.

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Exchange/Return Notes
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SKU: 60399875106

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4.6 ★★★★★
Based on 25 reviews
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Product Reviews
J
Verified Purchase
jk Smiles
Phoenix, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
Port Orchard, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Grantham, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Pawtucket, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Phoenix, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016

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