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.

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 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.

English. Circa 1800. Of rosewood with brass line inlay and gilt brass handles. Each bookcase with five graduated stepped fixed shelves divided by a center partition and all inlaid with a brass line to the front edge. The backboard of faux rosewood. The base set with paired drawers centred by finely cast oval drop handles. The whole raised on four turned bun feet. Provenance: Clivedon House, Bucks. The Astor Family.

English. Circa 1800. The early-nineteenth-century enthusiasm for Chinoiserie among fashionable aristocratic circles reached its apogee in the fantastical interiors of George IV’s opulent exotic palace, Brighton Pavilion. However, the more considered and studied chinoiserie of the present cabinet, dating from around 1800, presages this extravagant affair with the east and places the cabinet in a distinctly eighteenth-century tradition of design and decoration. The highly unusual painted decoration of the present cabinet, which has been remarkably well preserved, draws its inspiration from the rich decorative vocabulary of eighteenth-century chinoiserie, combining these elements in a unique and imaginative way. These decorative themes are accompanied by the subtle eighteenth-century form of the cabinet.

English. Circa 1730. This magnificent and beautifully detailed bureau cabinet belongs to a group of closely related cabinets either labeled by or attributed to the celebrated London cabinetmaker Giles Grendey (1693-1780). Of rare viridian color, with its profuse colored opaque glazed highlights and exceptionally bold architectural form, it ranks among the finest works in lacquer by any maker of the first half of the 18th century. The designs and execution of Grendey's lacquerwork are very distinctive, often employing parades and close groupings of figures, animals and foliage, and using subtle layers of modeling in his raised work to achieve depth of perspective. The scene on the fall-front depicting a dignitary on horseback followed by attendants is a theme used by Grendey on a number of occasions. Furthermore the present bureau cabinet is almost identical in design to the walnut bureau cabinet of bombé form formerly in the Hochschild Collection and strongly associated with Grendey.

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.

George Bullock (d. 1819) made his name as a highly important contributor to Regency design as a cabinetmaker. His career was short, and for a period, unrecognized, but in that brief time he executed highly original works and won commissions from esteemed persons of the day, and notably, Napoleon's final home at New Longwood on St. Helena, contracted by the British government. Over the course of his career Bullock received several major commissions: those of New Longwood, Cholmondely Castle, Abbotsford for Sir Walter Scott, and Great Tew Park for industrialist Matthew Robinson Boulton.

This distinctive and highly unusual table houses a remarkable collection of semiprecious hardstones and marbles, each set in a silver frame and, interestingly, inscribed on the reverse with its Latin name, which signifies that the stones constituted a geological collection. Tabletops inlaid with mineral collections brought back from the Grand Tour in Italy were highly desired in fashionable circles during this period, though their compositions lacked the inventiveness and artistry of the present table. The table also bears an inlaid armorial with the mantle and coronet of either a Prince of Russia or a Prince of the Holy Roman Empire, very similar to a pair of armorials on a music cabinet from Schwarzenau Castle in Austria. While the table was clearly intended for a European aristocratic household, its sculptural appearance, dark gold lacquer on the mounts, and brass inlay on the legs all indicate that it was made in an English workshop.