each with elegant flared neck flanked by clear aventurine glass handles all above a tapering body resting on a lobed aventurine splayed base; all over a conforming gilt-metal plinth; excellent condition; rewired; new lampshades as is.
each baluster-form lamp with everted neck and bulbous body all resting on a brass base; with textured surface all in a soft seafoam-green glaze with brown flecks; excellent vintage condition with no chips or cracks; minor pitting to brass bases; rewired
each ceramic ovoid-form lamp in a matte steel-blue glaze with a brass perimeter band of imbricated leaves; good vintage condition; minor pitting to brass; re-wired
each tall slender lamp of bottle-form with black, yellow and teal drip glaze; raised on an ebonized metal base; good vintage condition with minor wear; re-wired
the white bottle-form Murano lamp with gold inclusions fitted with brass mounts; good vintage condition with minor wear and patina; re-wired
each with long neck above a bulbous body all in a graduated lavender drip glaze all resting on brass bases; excellent vintage condition with only minor wear; no chips or cracks; professionally rewired
each hand-blown white and clear glass cattail shade set into a brass back plate; no chips or cracks; some wear and patina to back plates; professionally rewired; priced individually $4,000 each
a pair of Maurizio Tempestini (Italian, 1908-1960) mid-century modern alabaster table lamps in a sculpted flame design of polished white alabaster with veins of black; raised on oval ebonized wooden bases; good vintage condition with minor chipping; professionally rewired and bases re-painted
each of ginger jar form with scalloped octagonal body; all in a richly-colored blue and green drip glaze; good vintage condition with minor wear; re-wired
the cerused oak blackplate centering a beveled mirror flanked by 2 similar mirrors with mirrors on the reverse; fitted with a steel and chrome hinged framework; age to plates; good antique condition
each oblong planter with everted scalloped rim above a compressed body adorned with raised floral sprays; flanked by loop handles wrapped in foliate vines; raised on splayed bases over paw feet; perfect for indoor use; good antique condition with weathered surface; fitted with later tole liners
with sloping in-curved back over a loose cushion seat flanked by fluted supports capped with carved snail shells; excellent restored condition with refinished surface; newly upholstered
one of the best examples of a spoon back chair with its tall incurved back with an inlaid stylized floral and foliate motif; the down-swept arms above a box seat raised on console legs with carved volutes and lotus leaves at the knee; professionally restored with new black boar-skin upholstery
the round mirrored top with incised edge resting on an elegant gilt-iron base with interlaced openwork apron raised on cabriole supports; a similar example in "Les Decorateurs des Anne's 40" page 107; unmarked; wear to gilding and mirror surface; antiquing to plate
purchased in Rome in the 1980's, the well-carved chubby winged putti in opposing stances and poised on one foot over a rock-work base; depicting the grape harvest also known as the allegory of autumn (see detail image of Jean-Jacques Lagrenée's 'Putti Harvesting Grapes'); interior image courtesy 'Edward Lobrano Interior Design', NYC; excellent antique condition with overall rubbing to refreshed gilding
the rectangular table top with light green marbleized glass above an apron with birds-eye maple decoration; raised on turned and carved supports with ring and animal embellishments all tapering to brass feet; the six accompanying open back chairs with scalloped back stretcher; original antique condition
from the artist: I've long been inspired by old things. The texture and play of light on a weathered surface are the things that spark my imagination. I seek to capture a building's essence in my paintings, in a time less hurried with a calmness of spirit. Their strong simple shapes inspire me to try to somehow preserve their beauty captured at a moment in time.
Michael Dunlavey is a true watercolor master learning his craft first from his father as a boy then receiving his B.A. and Masters in Art from California State University, Sacramento
each of ovoid form in a salt-glazed finish in muted tones of coral, brown and ivory; resting on brass bases; excellent vintage condition with no chips or cracks; rewired
each of compressed spheroid form with incised swirl pattern retaining their chic original conical-form shades; good vintage condition with minor chipping along bottom edge of bases; signed 'O. DuBarry'
each of neoclassical campagna form adorned with draped swags all raised on anthemion feet; excellent vintage condition with minor wear to brass; rewired
of cornucopia form with flared candle holder tapering to a scrolled end; adorned with florets and acanthus leaves all over a later ebonized wooden plinth; ex-collection of Michael Taylor, San Francisco; later plinth; overall patina and wear; refreshed gilding
each tall lamp composed of a baluster stem above three graduated lotus leaf cups interspersed with giltwood dividers; all raised on a giltwood base; excellent vintage condition with no chips or cracks; rewired
each of robust scale all in a raku glaze of muted tones of green and blue; the western version of raku was developed in the 20th century by studio potters. typically fired at high temperatures, the wares are placed in an open-air container filled with combustible material, unlike the traditional Japanese method. the western process can give a variety and depth of colors and surface effects; good vintage condition with minor wear; re-wired
each tall and striking lamp in a soft frosted blue glass adorned with raised floral decoration; excellent condition with no chips or cracks
