each columnar lamp of Carrara marble with Tuscan style capital above a cylindrical standard resting on a cylindrical base all over a square base; height: 16.25" (top of marble) 27.25" (top of shade); good vintage condition with even wear and patina to surface; some abrasions with two polished chips; professionally rewired   

of exceptional quality, each double-gourd form lamp with hand-painted butterflies and raised polychrome floral and foliate vines all on a white glazed ground; height: 18" (top of porcelain  30" (top of shade); professionally rewired and restored with minor replacements to flower heads and vines

each lamp of columnar form with long cylindrical neck over a stepped base all resting on a brass foot; 18.5" (top of glass) 30.5" (top of shade); professionally rewired; slight variation in color; minor wear and some lifting of paint to underside of glass; some rubbing to gilding; no chips or cracks

each of campagna form with everted lip tapering to a compressed portly body all over a square plinth; adorned with ebonized highlights; 18.5" (top of wood)  29.5" (top of shade); professionally rewired; good vintage condition with minor wear and nice warm patina

each with long neck above a bulbous body; adorned overall with a gold and white mottled surface with applied colorful flecks in red, yellow and green; excellent vintage condition with no chips or cracks; rewired; nice patina to brass bases

each with long flaring neck above a tapering body painted overall with stylized floral and foliate vines in colors of ochre and aqua with gilt highlights all on a white ground; raised on a water-gilded wooden base; signed 'Marbro Lamp Italy'; excellent condition with no chips or cracks; re-wired; some rubbing to gilding

each striking lamp of deep purple bullicante and gold aventurine glass with an iridescent surface; raised on a brass octagonal base; excellent vintage condition with no chips or cracks; rewired 

each plaster baluster-form lamp by the Bradburn Gallery covered in a celadon painted linen with hand-painted colorful birds perched on a meandering foliate branch speckled with purple berries; height: 16" (top of plaster)  27" (top of shade); gilt embossed maker's mark to underside; good condition with minimal wear; professionally rewired 

a quality lamp made by Chapman Manufacturing Company,  USA, the swivel shade fitted with a standard socket and frosted glass panel raised on adjustable brass arms all over a rectangular base mounted with a toggle switch; professionally disassembled, cleaned and rewired; brass in good condition; ebonized elements re-painted.

each urn decorated with white, lavender and gray arabesque and Moorish motifs all on a celadon ground; adorned with finely chased gilt-bronze mounts; fitted with its original oil lamp fittings and marked 'Gebrüder Brünner, Wien'; height: 14" (top of porcelain); good antique condition with no chips or cracks; some rubbing to gilding on porcelain and bronze mounts; professionally rewired 

in the Chinese Export style, each colorful bird with turned head modeled standing on a pierced rockwork base; all raised on black painted metal and brass bases; marked 'France' on underside; Provenance Sotheby's Arcade Furniture & Decorations Sale 1994; from a Greenwich, CT estate; drilled and rewired; excellent condition with minor rubbing and patina to brass base; small chip professionally restored

the two-wheeled drinks trolley with turned handle joining a rectangular top within an openwork gallery all raised on wicker-wrapped supports joining a lower shelf; The Heywood Furniture Co. began in 1826 making wicker and rattan furniture. In 1897, the company merged with a competitor, Wakefield Rattan Co., to form the Heywood-Wakefield Co. Heywood-Wakefield’s iconic Streamline Modern furniture line was introduced at the 1933 Century of Progress International Exposition in Chicago. The soft-curved, light-colored look ushered in an age of furniture called midcentury modern.

the tall and striking ribbed art glass lamp of conical form in luminous smoked glass all resting on a brass base; Empoli is known as the other Italian mid-century glass. Simpler in design than their Murano cousins, the simple traditional styles of Empoli glass were quickly adapted to the sparse abstract shapes of mid 20th century modernism. The vast majority of mid century-styled Empoli glass was made for the American market; height: 21.25" (top of glass)  32" (top of shade); good vintage condition with no chips or cracks; professionally rewired; even wear to re-painted base

of stylish mid-century design in the manner of Tommi Parzinger, with ivory-glazed oblelisk-form base emanating two deeply scrolled brass arms supporting candle form socket holders;  centering a cylindrical brass rod and finial; all atop a black marble base with white veining; 18.5" (top of ceramic)  35: (top of shade); good vintage condition with light overall wear; minor pitting to brass; professionally rewired. 

As one person described Arthur Court's San Francisco shop, "it's a world of wonders - elegant and exotic". A new and innovative aluminum casting process led Arthur and Arthur Court Designs into a new era. His unique aluminum furniture and accessories featured cast antler chandeliers, chairs, tables and bookcases. 
Department stores across the United States brought his aluminum creations to loyal followers and collectors; reupholstered in brown cowhide. 
 

each with central glass support surrounded by two tall opposing leaves of translucent gold aventurine glass all raised on a thick gold bullicante disk over a later Lucite base; height: 16.5" (top of glass) 27.5" (top of shade); good vintage condition with no chips or cracks; professionally rewired; later Lucite bases

each of graceful form with long cylindrical neck above a bulbous body; the whole adorned with applied striated decoration in a graduated color pattern from white to aqua; resting on brass canted bases; height: 17.25" (top of glass)  28.25"  (top of shade); good vintage condition with no chips or cracks; some imperfections in glass inherent in the glass blowing process; some pitting to brass; professionally rewired

each with short everted neck above a baluster-form body all ending in a splayed foot; with ebonized metal cap and wooden bases; all in a rich orange lustre glaze; undersides impressed RUSKIN / ENGLAND 1919; Ruskin Pottery was an English art pottery studio founded in 1898, and closing in 1935.

each artist-signed lamp of baluster form with waisted neck above an ovoid body all over a splayed foot; resting on a turned gold-painted wooden base; each adorned with well-executed hand-painted exotic birds resting on a meandering floral and foliate branch; height: 18.5" (top of porcelain) 30.5" (top of shade); marked 'Made in Italy' to underside; good condition with no chips or cracks; professionally rewired; minor wear to wooden bases

Ideal for a smaller space, of polished and brushed chrome construction supporting three beveled glass shelves all joined by columnar supports; the whole flanked by scrolled handles and raised on steel casters; good vintage condition with some surface abrasions and rubbing; scratches and wear to glass shelves  

attributed to Warren Kessler Lamps, New York est. 1939; each hand-blown columnar lamp of baluster-form with reeded shaft above a bulbous mid-section over a cylindrical pedestal and splayed foot; all resting on a gold painted metal base; each in a soft butterscotch cased glass; height: 18.5" (top of glass); good condition with no chips or cracks; professionally rewired  

attributed to Warren Kessler Lamps, New York est. 1939; each hand-blown columnar lamp of baluster-form with reeded shaft above a bulbous mid-section over a cylindrical pedestal and splayed foot; all resting on a gold painted metal base; each in a soft butterscotch cased glass; height: 18.5" (top of glass); good condition with no chips or cracks; professionally rewired  

Designed by Marbro Lamp Co., each ovoid-form lamp decorated with slender wheat sheaths resting on a gilt-metal base over an ebonized wooden stand; excellent condition with no chips or cracks; re-wired and re-gilded; signed on underside; Camille Tharaud first studied chemistry as a young man, but after an injury during WWI, he convalesced in Limoges, France where he began his work with porcelain, opening up his own factory in 1920.