Of ebony, silver inlay, mounted with Tulyakov jasper, lapis lazuli, agate, amber, striated green glass and with silver inlay. Each in the form of a tapering obelisk, panelled to the front and inlaid with shaped hardstones, raised on four ball feet above a rectangular plinth panelled to the front and set with shaped stones above a molded edge set on a plain frieze with inlaid stone to the front, above a plain plinth base.

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 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 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 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.

Of mahogany. The bow shaped top comprising three sections, each inlaid with an oval panel against a quarter veneered ground, the central section fitted with a mirror to the reverse lifting to reveal a shallow well and forming a dressing mirror when upright, the hinged flanking sections opening outwards to reveal two deeper wells each fitted with a sliding drawer, the top above a kneehole surmounted by a single drawer and flanked to each side by two smaller drawers, the whole raised on four cabriole legs each terminating in a scrolling gilt bronze foot.

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 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 1790. This commode is distinguished by the exceptionally fine use of carefully selected figured and straight grain mahogany, fine gilt-brass handles that have the very unusual feature of double pommels, and a beautifully faded color. The demi-lune form was first introduced in the 1770s as part of the resurgence of interest in the art and architecture of ancient Rome, which characterized neo-classicism. The present commode embodies the late 18th-century designs propagated by the likes of Robert Adam and George Hepplewhite, and provided by such cabinetmakers as Gillow of London and Lancaster and William Gates. An almost identical commode was recently in the collection of Jeremy Ltd., who attributed their example to William Gates (fl. 1774-after 1800). Commissioned by the Royal Household as early as 1778, Gates specialized in fine inlay.

Schwerin. Circa 1855. The Mecklenburg-Schwerin library desk undoubtedly ranks as one of the finest masterpieces in the canon of 19th-century European furniture, both on a level of quality and design. Although monumental in scale, the desk, due to its superbly calculated proportions and the extensive use of brass inlay which serves to alleviate the mass of the piece, retains a poise and elegance which strongly suggests that an architect of great gift, rather than a cabinetmaker, was responsible for its highly accomplished design. The desk, originally in the study of the Archduke at Schwerin Castle, was specially constructed for that space in the mid-19th century. According to the Castle’s Ammeublement-Plan, these pieces were in existence in 1855, providing evidence of the approximate date of their construction. The desk was built by the court cabinetmakers, the brothers C. and A. Reinholdt of Schwerin, whose signature appears on the locks.

The Mughal term "parchin kari" translates literally to "driven-in", and this technique of pietre dure inlay developed independently in India, at the court of Shah Jahan, the 17th-century Mughal emperor. At this time, architecture was evolving from grounds of red sandstone to white marble, and from relief carving to inlay with semiprecious stones in floral and arabesque motifs. The most famous Mughal building to feature parchin kari is the Taj Mahal, built between 1632 and 1653 by Shah Jahan as a mausoleum for his wife, Mumtaz Mahal. The parchi kari of the Taj Mahal employs the same angular and curvilinear lines as the design of this tabletop, and is embellished with similar three- and five-petaled flowers, buds, and leaves. The base of this table was constructed specifically for these precious inlaid panels in the manner of Richard Bridgens, the 19th-century English architect and designer, who furnished residences such as Abbotsford House, home of Sir Walter Scott.

This table derives from the Quattrocentro tradition of geometric inlay found in numerous Florentine tombs and chapels (for example, the Chapel of the Medici Riccardi, designed by Michelozzo circa 1459, has a floor that employs similar geometric patterns). The bold system of inlaid lozenges and circles give the top a striking modernity, which is further enhanced by the subtle color palette chosen by the designer. The table's large central lozenge is made of brown alabaster, which was invariably used as the central feature of pietre dure tops made in Rome and Florence during the 16th and 17th centuries.