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.

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.

The present pair of knife boxes belong to a tradition of decorative cutlery cases made in the late Federal period. Before silver drawers were incorporated into sideboards, knife boxes were meant to sit atop staple dining room furniture singularly or in pairs. These cases were chiefly made of mahogany, which became the favorite primary wood used in furniture after its introduction in the colonies. Although no overtly similar pieces have been located, making comparative interpretation problematic, the overall design, certain decorative elements, and acquisition history in Baltimore (along with a pair of card tables which are most certainly of Baltimore origin), suggest the origin of the knife boxes. Furthermore, the secondary woods of poplar and white pine, although not exclusionary, support the attribution.

French In The English Manner. Circa 1810. Of mahogany and gilt brass. Each of tub-back form, the shaped top rail carved with two rosettes, the upholstered back flanked by two downswept arms, each terminating in a scroll centred by a rosette, the seat resting above a frieze panelled to the front and flanked with two carved rosettes, the whole raised on four sabre legs, the front pair panelled, each leg terminating in a gilt brass lotus leaf foot raised on a castor.

English. Circa 1755. Of mahogany, each with arched back filled with tubular bars. The well drawn outswept arms raised on profoundly incurved supports. The dished solid mahogany seat above four square legs, the front slightly curved and with shaped ears, all united by bar stretchers and raised on four original leather wheeled brass castors.

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 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 rectangular top with leather inset, rounded to the corners with a moulded edge above a plain frieze, the top raised on two curving X-shaped trestle ends with two foliate paterae to the centre, joined by two circular turned stretchers, the lower lengths moulded to the upper face, each leg terminating in a brass cap and raised on castors.

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.

German or Viennese. Circa 1790. Of mahogany with gilt-brass mounts. The projecting rectangular top above a continuous frieze fitted with two short drawers to the front, each drawer centred by a pierced key escutcheon and flanked by fluted pilasters, the two long drawers carved in relief with shaped panels, each drawer centred by a conforming escutcheon flanked by two drop handles, each handle surmounted with paired eagles heads, the sides carved in relief with geometric motifs, each centred by a lion's mask with a ring handle, the panelled back similarly veneered. The whole raised on four sabre legs.

English. Circa 1845. The segmented top found on the present table was patented in March 1835 by Robert Jupe. Together with John Johnstone, the firm Johnstone, Jupe & Co. produced round and ovular tables that could be expanded not by pulling the table apart at the center and inserting rectangular leaves, but by expanding the table "so that the sections composing its surface may be caused to diverge from a common center and that the spaces caused thereby may be filled up by inserting leaves or filling pieces." The table, when turned, expands on an iron frame that shifts the table segments outward allowing room for wedge-shaped leaves. This iron mechanism topped with a brass plate would be engraved with the company's name, and a serial number would appear adjacent to the plate. The present table is stamped with number 5613. It is likely that only a small number of tables were produced.

English. Circa 1800.

French. Circa 1775. This rare and highly unusual secretaire de voyage by the celebrated ébéniste Pierre Garnier (1725-1800; received maître in 1742), whose stamp it bears, seems likely to have been made for Jean Chevalier de Selve, Seigner d’Andeville, Captain of Cavalry in the Harcourt Regiment and Knight of the Royal and Military Order of Saint Louis, as it bears a brass inlaid monogram with the intertwined initials: JCS. The secretaire is a highly sophisticated piece of portable furniture, with the interior fitted with a number of drawers set with ivory tablets and the stands folding away beneath the cabinet, where they are secured by a metal fastening. Garnier was one of the very first ébénistes to introduce the motifs and principles of neoclassicism into furniture design, favoring strongly geometric architectural forms which accentuated straight lines and sharp corners.

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.

Vienna. Circa 1910. Of mahogany and cherrywood. The shaped top raised on two rows of spheres, the cupboard door with three pierced panels filled with interlinking circles, the door opening to reveal an interior fitted with shelves, the door flanked by the stepped angles.

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.