the half-round glass top with ogee edge resting on a conforming brass plated openwork frame raised on four columnar supports ending in foliate scrolled feet all joined by a lower stretcher; good vintage condition with no chips or cracks to top; antiqued brass finish with nice patina

the rectangular top with d-end flaps all with kingwood crossbanding; fitted with a single drawer with blind drawer on the reverse; raised on tapering square supports ending in casters; overall patination

imported from France and in three pieces, the thick rectangular top with ogee edge raised on concave supports; great for outdoor patio or interior use; some weathering and patina to surface

from the bay area figurative movement; artist note: "toni could adopt any guise. as you see in these drawings, she could be worldly or virginal, voluptuously naked or costumed, topped by one of her many hats. she could be young, middle-aged or timeless, she could evoke a classical goddess, an african queen, a con- temporary urbanite, a peasant maid."

from the bay area figurative movement; artist note: "toni could adopt any guise. as you see in these drawings, she could be worldly or virginal, voluptuously naked or costumed, topped by one of her many hats. she could be young, middle-aged or timeless, she could evoke a classical goddess, an african queen, a con- temporary urbanite, a peasant maid."

from the bay area figurative movement; artist note: "toni could adopt any guise. as you see in these drawings, she could be worldly or virginal, voluptuously naked or costumed, topped by one of her many hats. she could be young, middle-aged or timeless, she could evoke a classical goddess, an african queen, a con- temporary urbanite, a peasant maid."

of good scale and quality, circa 1930; each high back dining chair with beige leather upholstery and birdseye maple frame, for S.Hille & Co, London, consisting of two arm and six side chairs, having a vasiform splat above a tight seat; raised on graceful splayed supports; professionally refinished; minor wear and patina to later leather upholstery; 

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.

the rectangular paneled tray fitted with hinged drop-down sides having pierced handles all in a mellow oak finish; with original brass inset hinges; the sides are slightly canted when closed; all raised on the original oak folding stand; measures 29"H  35"W  26" D 35 (flaps down) and 33"H  31.25"W  22.75"D (flaps up); good antique condition with overall even wear and warm patina; minor old repairs with stabilized split to one panel

the octagonal forest-green marble top with painted inlaid scrollwork surrounded by floral and foliate decoration; all raised on a neoclassical style Michael Taylor faux stone cross tripod lyre base; overall good condition with some minor chips to base; minor even wear to top

the gray marble top resting on an open iron-work base with 8 over-scaled double c-scrolled supports adorned with bold gilt-tole leaves; overall oxidation; later top

the ochre marble top resting on a well-carved aqua painted base with ochre foliate scrolls; all supported on hoof feet; overall even wear and patination.

from the Bay Area Figurative Movement; Artist note: "Toni could adopt any guise. As you see in these drawings, she could be worldly or virginal, voluptuously naked or costumed, topped by one of her many hats. She could be young, middle-aged or timeless, she could evoke a classical goddess, an African queen, a con- temporary urbanite, a peasant maid."

a fantastic example of Gothic revival furniture, the robust pair of ebonized Gothic style arm chairs with padded back with openwork pointed arch crest flanked by turned stiles; above a tight seat flanked by padded arms with over-scaled spheroid terminals; all raised on turned supports ending in wooden casters; finish professionally refreshed; wear to casters; good antique condition; newly upholstered

An unusual pair of hand-blown clear and gold aventurine Venetian candlesticks with large-scale dolphin connectors made by Salviati, circa 1920's featuring dramatic full-bodied upward-facing dolphins; raised on a splayed quilted foot with removable quilted bobeche; excellent condition with no chips or cracks;

each bearded face surrounded by thick curly hair; with custom iron stands and lampshades

the porcelain column wrapped with metal wire above a porcelain crackle-glazed orb; all raised on a black and gold painted base; patination to metal; excellent condition

the die in solid laminated mahogany for the manufacture of a child's toy pedal car (metal would be wrapped around this die and steering wheel attached later)

the large oval tray of well-figure mahogany centering a robust inlaid fan medallion with crossbanded perimeter band all within a scalloped wooden gallery flanked by solid brass handles; green felt to underside; good antique condition with normal wear and patina

the large richly-patinated mahogany tray of abalete form with thick ogee perimeter molding all flanked by openwork foliate handles; professionally refinished; replaced screws to underside

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 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

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