SKU: 16693073534

Vanity Art Brescia 30 in. W x 18 in. D x 36 in. H Bath Vanity in Espresso with White Ceramic Top, White Basin and Mirror

$248.27 $275.85
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Description

Vanity Art Brescia 30 in. W x 18 in. D x 36 in. H Bath Vanity in Espresso with White Ceramic Top, White Basin and Mirror30 in. Espresso Bathroom Vanity with White Top & Mirror Compact and modern, the Vanity Art Brescia 30 inch freestanding vanity pairs an espresso cabinet with a durable white ceramic top and integrated rectangular basin. Built from solid + manufactured wood with soft close doors and drawers, it arrives fully assembled and includes a matching square wall mirror for a cohesive look. Key Features: Durable Construction: Solid + manufactured wood cabinet

30 in. Espresso Bathroom Vanity with White Top & Mirror

Compact and modern, the Vanity Art Brescia 30-inch freestanding vanity pairs an espresso cabinet with a durable white ceramic top and integrated rectangular basin. Built from solid + manufactured wood with soft-close doors and drawers, it arrives fully assembled and includes a matching square wall mirror for a cohesive look.

Key Features:

  • Durable Construction: Solid + manufactured wood cabinet resists moisture for long-lasting use
  • Easy Maintenance Top: White ceramic vanity top with integrated rectangular undermount-style basin wipes clean and resists stains
  • Ready to Install: Fully assembled vanity and included matching wall mirror; top pre-drilled for a single-hole faucet
  • Smooth, Quiet Operation: Soft-close doors and drawers with adjustable hinges and nickel-finish hardware
  • Smart Storage: Two doors and two dovetail drawers provide organized space for everyday essentials

Please check the Product Data Sheet Here

Specifications Table:

Specification Details
Collection Brescia
Vanity Type Freestanding
Cabinet Width (in.) 30.00
Cabinet Depth (in.) 18.10
Cabinet Height (in.) 35.80
Product Width (in.) 30.00
Product Depth (in.) 18
Product Height (in.) 36
Vanity Top Thickness (in.) 0.8
Mirror Width (in.) 27.56
Mirror Height (in.) 27.56
Cabinet Color Espresso
Cabinet Color Family Black
Cabinet Shade Medium
Cabinet Material Solid + Manufactured Wood
Top Material Ceramic
Top Color White
Sink Type Undermount (integrated ceramic)
Sink Shape Rectangular
Sink Location Center
Number of Sinks Single Sink
Faucet Hole Spacing Single Hole
Faucet Included No
Backsplash Included No
Mirror Included Yes
Hardware Finish Family Nickel
Included Drawers, Floor Cabinet, Mounting Hardware, Pull Handles, Mirror
Vanity Features Adjustable Hinges, Mold Resistant, Soft Close Doors, Soft Close Drawers, Stain Resistant
Assembled Yes
Assembly Required No
Cabinet & Top Assembled Weight (lb.) 148
Manufacturer Warranty 1 Year Limited

Frequently Asked Questions (FAQ):

Q: Is the faucet included?
A: No. The top is pre-drilled for a single-hole faucet; faucet and drain are sold separately.

Q: Does this vanity require assembly?
A: No. The cabinet and top come pre-assembled for quick installation.

Q: Is a backsplash included?
A: No backsplash is included.

Q: What is the sink configuration?
A: Single, center-position rectangular basin integrated in the ceramic top.

Q: What are the overall dimensions?
A: 30 in. W x 18 in. D x 36 in. H; mirror approx. 27.56 in. W x 27.56 in. H.

Crisp Minimalism, Effortlessly Composed

The Brescia vanity instantly refines the bath with its inky espresso frame and a luminous white ceramic top—an elegant tension of light and dark. Frosted door panels and sleek nickel pulls offer a tailored, modern gesture that feels both architectural and serene. Style it with matte black accents and a single sculptural branch to let the clean lines breathe. It’s a chic essential that anchors a space with quiet luxury.

Elevate your bath with this ready-to-install, storage-smart vanity and mirror—order the Brescia today.

Warranty

Installation

Shipping Notes
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SKU: 16693073534

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4.3 ★★★★★
Based on 27 reviews
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Product Reviews
A
A. Jimenez
Cuba, US
★★★★★ 3
Well intentioned but ignorant
It's clear that this author is well intentioned. He betrays his own ignorance in trying to justify why his book only addreses certain native nations, however. The author indicates that the book did not address the native peoples of the Caribbean because they are extinct. To state that the Taino and Carib are extinct is at best extremely ignorant and at worst racist. The Taino and Carib are very much alive. To begin with, there is a reservation of Carib Indians on the island of Dominica. These native people have retained their language and culture. Further, there is a Taino Revival movement happening throughout the major Antilles especially in the Dominican Republic, Puerto Rico and Cuba. It has been scientifically proven via DNA analysis that these people are of partial and in some cases total native descent. The Taino language is being heard and taught again in the Caribbean and Taino culture has always been an integral part of the the customs and culture of the major Antilles. It is very unfortunate to know that even this author is ultimately just another white guy bent on ignoring " incovenient truths ".
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 25, 2012
T
Verified Purchase
Terry L.
Belleville, US
★★★★★ 5
Recommend
Tells the other side of the story you didn't get in U.S. History class. Good read.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 15, 2015
G
Verified Purchase
George Vargas
Grantham, US
★★★★★ 5
Five Stars
Outstanding book on the general history of European barbarism.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on December 26, 2017
H
Verified Purchase
Howard
Los Angeles, US
★★★★★ 5
By far, the best book of many I have read on this subject. Must read for anyone interested in this subject.
Format: Paperback
Best book I have yet read on the subject, and I have read many in research for the writing of my second novel. It relentlessly examines specific cases of lynching over time, but it is not a mere narrative of specific lynchings. It is an excellent analysis of the social, historical and cultural forces behind this horrendous practice. The book's discussion of the movie, Birth of a Nation, would by itself make this a valuable book, but the book's central theme is even more important. Its central theme, the public's desire for spectacle as fuel for lynchings, particularly after the abolition of legal public executions, is even more revealing. Also a good look at the social and cultural forces that over time led to the gradual demise of lynching as a phenomenon. A page turner for history readers. Warning -- man's inhumanity to man will make you simultaneously angry and sad.
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Reviewed in the United States on July 24, 2015
A
Verified Purchase
AlanWarner
Boise, US
★★★★★ 5
WHITE MOB JUSTICE
Format: Paperback
More black men were hanged in America in the twentieth century than were hanged during slavery, the author of this book Miss Amy Louise Wood does an excellent job of revealing who and what group of Americans did this whole scale hanging of black men. Many white people who participated and witnessed these hangings were your everyday run of the mill American citizens as stated on page 80-81 "As visual extensions of the lynching itself, photographs could at times assuage crowds that had missed the opportunity to witness and participate in the violence. In 1934, the posse that captured Claude Neal, accused of raping and killing a young white woman named Lola Cannidy, chose to lynch him in the woods outside Marianna, Florida, rather than bringing him to the Cannidy home, where a large crowd had gathered in anticipation of the lynching. When the waiting crowd had discovered that the mob had lynched Neal privately, they were reportedly outraged. The mob finally arrived with Neal's body in tow, and the crowd, which included Cannidy's family, took out their vengeance on the corpse, kicking and shooting it, tearing it apart, and even driving their cars over it. Neal's mutilated, nude body was then hanged on the courthouse lawn in the center of the town, and hundreds of photographs were taken. he next day, as people congregated in the square to see the body, the photographs were sold to those purportedly still incensed that the posse who lynched Neal had denied them the satisfaction and pleasure of witnessing Neal's lynching. The images acted as visual replications of the actual spectacle, offering them vicarious access to the missed thrill of the lynching. The gratification local viewers derived from the images of Neal's lynched body was directly attached to their outrage over Cannidy's rape and murder, their fears of black criminality, and their desires to assert their racial power and superiority in the face of these threats." Another interesting aspect of these mobs is the role religion played in their actions as stated on pages 67 "The performance of a lynching thus created a symbolic representation of white supremacy-a spectacle of demonic and wicked black men against a united and pure white community. That those images coincided with evangelicals' impassioned exhortations against sin gave lynching sacred force and justification. Indeed, the imprint of Protestant language and tropes on lynching rituals and defenses imbued the violence with divine sanction and made it appear familiar and recognizable to a people immersed in Christian beliefs and values. Mobs could thus conspicuously flout the law and perpetrate what otherwise would be considered aberrant and grotesque acts of sadism while considering themselves to be righteous and moral citizens." In the twentieth century the hanging of black men was a major festive event for many on looking white people as can be seen in the pictures on page 32 and also on pages 78 and 79, on page 79 you can see a young white man smiling, on pages 95 and 102 there are more pictures of gleeful white spectators, on page 192 there is crowd participation in this picture of a hanging and burning black man I thank this author for writing this very much needed book.
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Reviewed in the United States on July 6, 2015

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