Oil on canvas. Signed and dated 'R.S. 1804' (lower right). The featured ship is the Alfred, shown in three positions, thought to be off the Mersey, Liverpool.

Oil on canvas. The painting set in a molded frame.

Of mahogany. The cart section with shaped sides, lined with a detachable copper tray, is fronted by a carved head of a horse. The whole raised on finely turned concentric wheels each pair joined by an axel and held with split steel pins.

Of mahogany. The oval wine cooler with upholstered top opening to a divided interior, set to the side with paired faux ring handles, centred to the front with mask of Jupiter, the whole raised on two outswept plinth feet.

Of limewood with original green-painted and faux porphyry decoration. Each surmounted by a circular gadrooned top above a shaped stem with reeded central section and anthemion decoration raised on four winged female figures and a pylon shaped faux porphyry base decorated to each side with a wreath and crossed poles with acorn finials, the whole raised on four bold paw feet and a square faux porphyry plinth with canted corners. These exceptionally sophisticated pair of torcheres are identical to a single example in the Victoria and Albert Museum. They originally formed part of the collection of the Earl of Lascelles, at the great Yorkshire mansion, Harewood House, built between 1759 and 1771 by a combination of the architects John Carr and Robert Adam.

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.

Of walnut ebony and bone. The octagonal top with raised rim inlaid with eight-pointed star of ebony and bone, the pierced barley twist stem centred with a turned coller, the stem set on a polygonal base with moulded rim raised on three ebonised bun feet. In his book English Furniture 1660-1714: From Charles II to Queen Anne, Adam Bowett illustrates a candlestand of strikingly similar form to the present examples, pointing out the rarity of the pierced double-bind turning. The close similarity of the pieces is not limited to the form and construction of the stem, but also extends to the shaped and inlaid base raised on bun feet and the tray to the top.

Of mahogany, verre églomisé, with marbleized decoration. The incurved superstructure set with a verre églomisé mounted drawer flanked by repeating lozenge marbleized decoration. The projecting ends set with black and silver foliate verre églomisé panels. The lower section with a reeded tambour above a verre églomisé mounted and geometrically inlaid sliding false drawer front opening to reveal two banks of narrow drawers flanked by foliate verre églomisé panels. The four cylindrical tapered legs headed by faceted sections with inset triangular foliate verre églomisé panels. The legs united by an incurved fretted stretcher painted with marbleized decoration.

Of finely figured mahogany. The rectangular ratcheted top above a plain frieze set with a single full length drawer fitted with a leather lined writing slide and lidded compartments. The front set with two rococo cast brass swan neck handles. The whole raised on four moulded and chamfered straight legs ending in a replaced block foot.

Of Cuban mahogany. The rectangular top with moulded edge above a frieze set to the front with paired drawers, one of dummy form, to each side the frieze set with single drawers, one of dummy form, each with gilt escutcheons, to the rear half the frieze raised on a pedestal, set to either end with three tiered drawers, each with gilt escutcheon and ring handle, above shaped block feet, to the front half the frieze raised on two legs, each leg terminating in a pad foot.

Of mahogany with gilt brass mounts. The rectangular top with tooled leather inset above a frieze fitted to the front and reverse with three drawers with gilt brass drop-handles, the frieze fully dummied to the sides, the top raised on two pedestals, each fitted with three graduating drawers with gilt brass handles, to the front a hinged flush paneled door to the reverse, each door opening to reveal an interior fitted with shaped folio divisions, the panels edged with ebony stringing, the sides similarly inlaid with two panels, each pedestal raised on a plinth base.

This pair of globes were designed and constructed around 1830 by Newton and Son, one of the leading manufacturers of globes throughout the 19th century. The firm, founded by John Newton in 1780, won the prize at the Great Exhibition of 1851 for a manuscript globe six feet in diameter. Large floor-standing globes were an item of great luxury that adorned the libraries of some of England's finest homes, such as Binfield, Leigh Park, and Broomwell House. The size of the spheres, and the wooden bases on which they rest, indicate the quality and costliness of the pieces: at twenty-three inches, these globes were probably the largest size made by the company; and their bases are boldly carved from solid walnut, indicating that must have been an important commission.

English. Circa 1785. This elegant cabinet, which retains its original painted decoration, is a rare survival of the Etruscan taste introduced into England in the late 1760s. The black and terracotta decoration to the ovals and the stylized frieze, set against a light-blue ground, are much in the manner of the Etruscan style of Robert Adam (1728-1792), the most celebrated architect and designer of the day. The present cabinet also draws on the conventional classical vocabulary, with a fan motif to the doors and sides and anthemion arcading to the frieze, but renders them in Etruscan colours. The ‘Etruscan Dressing Room’ was executed by Adam’s decorative artist Pietro Mario Borgnis (1743-1801). The decoration was first painted onto paper that was then pasted onto canvas which was attached to the walls of the room. Much the same technique is employed in the present cabinet, where the black and red Etruscan work is painted onto paper and then laid down onto the painted pale blue ground.

English. First Quarter Of The Nineteenth Century. The present cabinet is a superb example of the early 19th century taste in England for French-inspired furniture of the ancien régime. Led by George IV, the fashion quickly spread through the ranks of the British aristocracy and patrons from the very wealthy merchant class such as William Beckford and George Watson Taylor. Although the low-slung breakfront form of the piece is overtly English, all of the components that make up the cabinet are derived from the French vocabulary of ornament. There were a number of firms in London that specialized in French-inspired furniture, such as Robert Hume, Louis Le Gaigneur and Thomas Parker. Of those three firms, Parker would seem to be the most likely candidate for the cabinets' manufacture. Parker's name is synonymous with English boullework of the extremely high quality that is found on this cabinet.

English. Circa 1790. First discovered over two thousand years ago by the Romans, Blue John is an unusual mineral from the area around Mam Tor mountain in a hillside near Castleton in Derbyshire, England. This is the only known location where Blue John can be found, though other types of flourspars are mined throughout the world. The name "Blue John" is believed to derive from the French bleu jaune, meaning "blue-yellow," and it is characterized by bands of blue/purple and yellow/white colored veins. Because of its rarity, the material is no longer used on a grand scale. One of the most proficient users of the stone was Matthew Boulton. He worked extensively in Derbyshire marbles and fluorspars to produce a variety of decorative objects like urns, cassolettes, and perfume burners. It was used to furnish the finest British houses, notably Kedleston Hall, where it was first employed by Robert Adam, and Chatsworth, home of the Duke and Duchess of Devonshire.

In 1819, John Howard Galton, son of Samuel Galton Jr. and Lucy Barlcay of Dudson House, Birmingham, was married to Isabella Strutt, daughter of Joseph Strutt, Mayor of Derby and Isabel Douglas. This table was made in honor of the marriage, with both families' crests and coats-of-arms displayed on its top using inlaid marble and hardstone decoration. The large shield shows the Galton coat-of-arms, with a small shield inside it showing the coats-of-arms of the Strutt and Douglas families. Above are the crests of the Galtons and the Strutts. The top's exquisite quality suggests it was made in one of the leading Italian workshops, where English noblemen often commissioned lapidary items. Its base has a pleasing Grecian simplicity, and traces of an unusual dark green coating indicating that it originally resembled bronze. The Galtons' home was Hadzor Hall, former home of Katherine of Aragon. The table remained there until 1929, when John Howard's grandson, the last of the Galton line, died.

This table was designed circa 1963 by English sculptor Henry Moore (1898-1986), for the living room of his home in Forte dei Marmi, Italy. It was made entirely out of travertine, one of Moore's favorite stones, which is a porous, yet durable, sedimentary rock that is used primarily in buildings, and which Moore used for sculptures including one commissioned by UNESCO, Paris. The stone was quarried near Rome, and the table was made by the Henraux workshop in Querceta, near Forte dei Marmi. The entire design and construction process of the present table was carried out during "one long summer holiday period", and it remained in the family's Italian vacation home until Henry Moore's death, after which it was inherited by his daughter, Mary Moore Danowski. According to Moore's daughter, apart from two wooden carved benches made in the early 1920s, this table is the only piece of furniture Henry Moore ever created.

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.