English. Circa 1820. Of mahogany and inlaid boxwood. The demi-lune top with cross-banded border and inlaid stringing above a shaped undermould above two shelves edged with boxwood stringing divided by tapering posts inlaid with boxwood panels, edged with stringing and continuing to form four tapering legs, each leg terminating in a square tapering foot.

Of gilt brass. The corona cast with lotus leaves above a canopy of acanthus leaves, the body, suspended on five supports, each with acanthine decoration, the five foliate arms, each arm terminating in a foliate drip-pan and nozzle, the whole centered by five oil reservoirs, each in the form of a Grecian urn, the whole terminating below in a lotus leaf final.

English. Circa 1820. Of giltwood. The whole surmounted by a carved giltwood crane surrounded by foliage and above a carved pineapple, the rectangular frame carved as faux bamboo.

Italian. Circa 1820. Of statuary marble with a cippolino marble turned socle.

Of various woods including boxwood, purple heart, mahogany and ebony. The rectangular top with curved corners with original black leather inset within a band of Greek key decoration and edged with a geometric border, the continuous shaped frieze inlaid with a striped pattern and concealing four drawers to the front opened by hidden locks and catches and concealing an extending writing surface to the reverse, the central ratcheted slide inlaid with a coronet. The knee-hole to the front flanked by two deep drawers, inlaid with a geometric patterns and released by a hidden mechanism below each drawer, the sides and reverse similarly inlaid, the curved corners inlaid with a lozenge pattern, the whole raised on four shaped and turned legs, each inlaid with tapering striped decoration.

Of birch and bog oak inlaid throughout in a geometric design. Comprising two sections, the upper section with a rectangular top above a frieze fitted with two cavetto fronted drawers centred by a short drawer, the frieze above the cylinder opening to reveal a restored fully fitted interior centred by a hinged door flanked by two high drawers flanked to either side by three compartments, two short drawers and a long drawer, the cylinder above an inlaid extending serpentine fronted writing desk, the conforming lower section fitted with two long drawers flanked by faux fluted corners, the sides inlaid, the whole raised on four restored tapering inlaid legs.

English. Circa 1820. This highly unusual table is conceived in the distinctive manner of the renowned seventeenth-century Venetian sculptor and furniture maker Andrea Brustolon (1662 – 1732). The form of the table is highly inventive, with four full length figures forming the legs. They represent Prometheus chained at the wrists, Cinyras, the father of Adonis, who split open a myrrh tree from which emerged his new born son, and Mercury, who is depicted here as a beardless youth carrying a purse, his badge as one of the Roman gods of commerce. Hercules, one of Brustolon’s favorite characters is also shown, bearing a club and a lion’s skin. As well as representing a skilled interpretation of Brustolon’s style, the table also shares with Brustolon's work the highly unusual feature of being carved in boxwood. It is extremely rare to find a piece of furniture made wholly form boxwood.

Berlin. Circa 1820. Of flame mahogany with boxwood stringing. The base set with a single drawer with paired oval reserves. The paired doors with three circular glazed sections divided by horizontal glazing bars. The cavetto moulded cornice with domed attic frieze. The whole resting on block feet.

English. Circa 1820. Of ebonized poplar with gilded decoration and gilt brass mounts. The upper section surmounted by a recessed triangular pediment flanked by two lunettes, decorated with geometric lines and palmettes, above a plain cornice and frieze decorated with parellel lines meeting with scrolling ends from which issue horizontal palmettes, the front bearing four glazed, hinged doors, the glazing divided into rectangular sections by leading affixed with small metallic rosettes, above eight arched, recessed panels, set in pairs, highlighted with gold lines and palmettes, the lower section comprising four doors, set with conforming recessed, arched panels and gold palmette and line decoration, the whole raised upon a plain plinth base.

English. Circa 1820. John Blades was a leading glassmaker of the early 19th century. He was active from 1783, when he opened his shop at 5 Ludgate Hill, London, until his death in 1829. Known as the “great glass man of Ludgate-hill,” Blades specialized in chandeliers and candelabra of superior quality. His clientele included the Second Earl Grosvenor and the Draper's Company, a prestigious livery company in London, and in 1789 he was appointed Cut Glass Manufacturer to his Majesty, George III. A print from Ackerman's Repository of the Arts depicts the Ludgate Hill showroom filled to capacity, and includes a candelabrum comparable to the present pair. They combine Blades’ characteristic design elements to produce an exquisite example of a lighting style popularized during the Regency period in England. The present candelabra are probably the largest of this type.

This striking tabletop is a section of a septarian nodule, a type of concretion created when pores in a mass of sedimentary rock (usually fossils dating from the Cretaceous period, 50-70 million years ago) are filled in with jelly-like mineral deposits before hardening in a spherical form. The concretions are often reddish or golden in color, and are also called "turtle stones" for the radiating design made by their internal cracks. Septarian nodules can be as large as 9 feet across, though this tabletop was made using a smaller example, which was probably found in the region of the Oxford and Kimmeridge Clays along the Wessex Coast of England. The table's masculine and powerful base, with its design derived from early Roman bronze candelabra, is a particularly suitable vehicle to display this superb example of a Cretaceous period specimen.

The top of this table is composed of a fragment of an ancient Roman floor mosaic, possibly from somewhere like the ancient Roman dwelling called Casa Rural das Ruinas in Milreu, Portugal. The baths at this villa, which was built and expanded between the 1st and 4th centuries AD, still have their brightly-colored tile decorations of marine life, including fish very similar to the one on this tabletop, and the same set of distinctive geometric shapes, which may represent mollusks and jellyfish.