The Rothschild Collection: every piece.

In provincial Regence style, with a patinated walnut patina highlighted with hand-painted polychrome detail, with a rectangular tray top above a solid frieze with a single drawer centered by a foliate shell functioning as the drawer pull and issuing scrolls and floral trails, resting on shell-headed cabriole legs.

In the Louis XV Style, the rectangular mirror frame with moulded top edge above a foliate and ruffled cartouche centering a grisaille painting of frolicking putti, above a shaped rectangular mirror plate, the paneled sides carved with three ruffled cartouche clasps, the console base with a serpentine-shaped top with moulded edge above a pierced c-scroll-carved frieze, on cabriole legs headed by double c-scrolls joined by an x-form stretcher with scroll-carved central clasp, ending in scrolled feet, finished in a layered and hand-rubbed antiqued blue with parcel-gilt carved highlights.

In the style of an Italian rococo commode from the region of Lombardy, of double-long form, in cherrywood with a richly figured finish with antiqued patina and hand-rubbed silvered edge detailing, the rectangular top with waved moulded edge above a conforming case with three long central drawers flanked by three short drawers to each side, each with antiqued silvered-finish foliate-cast drawer handles, above a scalloped shaped apron, resting on cabriole legs ending in scrolled toes.

In the Louis XV provincial style, the rectangular top with three-quarter gallery above a long locking frieze drawer over an open shelf compartment, above two further long drawers, the drawers with twenty-four carat gilt-carved escutcheon backplates, with line-paneled sides, resting on splayed legs, finished in a hand-rubbed brownstone white with rich brown line detail.

Of Louis XV style, the rectangular top with serpentine front and three-quarter gallery above a frieze drawer, over an open compartment, above two further drawers, with a waved apron and resting on four slightly cabriole splayed legs, finished in a hand-rubbed brownstone white with rich brown line detail.

Anne. In the Italian Rococo style with hand-rubbed cream-painted finish accented by antiqued black, the rectangular cartouche-shaped pierced back with strapwork-form splat, the waved crest rail centering a stylized shell, upholstered in a rich polychrome chenille with loose cushion, on foliate-headed cabriole legs ending in scrolled toes.

Anelle. In the Italian Rococo style with hand-rubbed cream-painted finish accented by antiqued black, the rectangular cartouche-shaped pierced back with strapwork-form splat, the waved crest rail centering a stylized shell, upholstered in a rich polychrome chenille with loose cushion, on foliate-headed cabriole legs ending in scrolled toes.

In the Italian rococo style, in cherrywood with a richly figured finish with antiqued patina and hand-rubbed silvered edge detailing, with antiqued old bronze finished foliate-cast drawer handles.

In the Italian rococo style, the tall open carved giltwood headboard frame of C-scrolls and pierced rocaille, with a scrolled cresting centered at the top, acanthus-carved corners and a shell-carved cartouche at the base, centering a rectangular mirror plate within a conforming pierced rocaille-carved giltwood frame, finished in an antiqued gilt. The sample shown was set against a navy blue cowhide panel, which is not included.

Charlene. Of Empire outline, the ebonized frames with parcel-silvered edging, with pierced fret sides, resting on square tapering front legs and sabre rear legs, with a padded rectangular back and seat presented here in a chenille print with red blossom motif. Ottoman is ensuite with the armchairs, and is of rectilinear form, the ebonized frame with parcel-silvered edging and with blind-fret-carved seatrail.

Charlaine. Of Empire outline, the ebonized frames with parcel-silvered edging, with pierced fret sides, resting on square tapering front legs and sabre rear legs, with a padded rectangular back and seat presented here in a chenille print with red blossom motif. Ottoman is ensuite with the armchairs, and is of rectilinear form, the ebonized frame with parcel-silvered edging and with blind-fret-carved seatrail.

Of Italian rococo style with antiqued walnut patina, in slightly bombe form, with rectangular inset top above a pullout writing slide, over three long drawers mounted with antiqued bronze foliate-cast handles, over a scalloped apron, on slightly cabriole legs.

Dancing Medallion with Leaves. In the George III style inspired by Robert Adam, the circular medallion centering a figure of a classically-clad dancing maiden, headed by a ribbon-tied bow-knot issuing berried bellflower trails.

Harp Medallion with Leaves. In the George III style inspired by Robert Adam, the circular medallion centering a classically-clad maiden playing a lyre, headed by a ribbon-tied bow-knot issuing berried bellflower trails.

Woodwind Medallion with Leaves. In the George III style inspired by Robert Adam, the circular medallion centering a figure of a classically-clad maiden playing pipes headed by a ribbon-tied bow-knot issuing berried bellflower trails.

Jardinière Element. In the George III style inspired by Robert Adam, with an ornamental two-handled beaded urn with fluted stem and foliate base issuing berried husk trails from the handles and a central foliate bouquet.

Leaves. In the George III style, lengths of straight, swagged and flower-headed berried husk and bellflower trails.

Ornamental Element. In the George III style inspired by Robert Adam, with a central oval lobed paterae surrounded by a berried husk wreath headed by a ribbon-tied bow-knot and suspending further husk trails from flower heads.

In the Louis XV style, the shaped square ebonized top with ochre foliate border, the hand-rubbed and antiqued fruitwood frame above a paneled and serpentine-shaped frieze with two short and one long ebonized panels to each side, the short panels carved with cobalt-finished anthemion, the central panel with a drawer to each side and carved with facing dragon scrolls, resting on hipped cabriole leg.

Elegance Classic. A Baroque style mirror based on an overmantel design, with an ebonized and twenty-four carat antiqued gold finish, the rectangular plate surmounted by a stepped cornice and double c-scroll-carved frieze centered by a foliate clasp, within a paneled side and base surround.

Elegance Ornate. In the Baroque style and based on an overmantel design, with an ebonized and twenty-four carat antiqued gold finish, the rectangular stepped cornice and double c-scroll frieze centering a foliate clasp, carved to the sides and bottom with undulating foliate scrolls, each side and the lower corners with bound and gathered scrolls.

A Louis XVI style boiserie panel carved with three fruiting trophies suspended from a ribbon-tied bow-knot issuing ribbon trails, with forest green-painted carving against a hand-rubbed white-painted ground, within a parcel-gilt surround.

Eve. Of Italian neoclassic style with green faux bronzed finish highlighted with silver, with a vasiform stem carved with scrolled acanthus above a beaded and leaf-tip-carved calyx, with gadrooned stepped foot, presented here with a pleated silk shade.

Monique. In the Dutch baroque style in a rich walnut finish highlighted with twenty-four carat parcel-gilding, the ring and bobbin-turned graduated stem resting on a rectangular plinth with foliate corner clasps joined by an entrelac-carved edge, shown with a silk drum shade.

In a patinated and polished burgundy-infused finish with ebonized and rubbed carved detail, with a serpentine-shaped square top with moulded edge, the outset corners carved with a fleur-de-lys, above a solid apron with a drawer to the front centering a fleur-de-lys flanked by cast-bronze drop pulls, over a waved apron, on hipped cabriole legs carved each with a further fleur-de-lys, ending in stylized hoof feet.

In the Italian rococo style, finished in an antiqued brownstone white with hand-rubbed black detail, shown with a serpentine-shaped travertine marble top, above a shaped frieze centered by a shell and foliate clasp, on cabriole legs headed by confronting c-scrolls, ending in scrolled feet.

The naturalistically carved rockwork base issuing four ruffled scrolled supports centering a dense foliate and fruiting bouquet, with an antiqued and hand-rubbed walnut finish, supporting a serpentine-shaped diamante glass top.

In the Baroque style and based on an overmantel design, with a hand-rubbed and layered antiqued silver finish with ebonized carved detail, the square plate surmounted by a stepped cornice and double c-scroll-carved frieze centered by addorsed scrolls, within a paneled side and base surround.

In the Baroque style and based on an overmantel design, with a hand-rubbed and layered antiqued silver finish with ebonized carved detail, the rectangular stepped cornice and double scroll frieze above a square plate within a shaped double scroll surround with pronounced scroll flourishes.

In Napoleon III style, with overall rubbed creamy ochre-white hand painted and rubbed finish, the shaped rectangular top above a waved apron centrally carved to each side with a stylized foliate and floral spray issuing scrolls, on attenuated slightly cabriole legs headed by foliate-enclosed cabochons, joined by an arched x-form stretcher with knob finial, on scrolled toupie feet.

In the Louis XVI style with all parcel-gilt finish with antiqued patina, the rectangular top above a pierced lattice frieze with central drapery-swag-carved panel, the corners carved with circular medallions, on square tapering legs with waisted collars, ending in toupie feet.

Of Venetian rococo design, the rectangular mirror with moulded top edge above a central rectangular plate with arched top, surrounded by mirrored slips with ruffle-carved scrolling foliate decoration, headed by a scrolled clasp, he console base with a serpentine-shaped top with moulded edge above a pierced c-scroll-carved frieze, on cabriole legs headed by double c-scrolls joined by an x-form stretcher with scroll-carved central clasp, ending in scrolled feet, finished in a layered and hand-rubbed antiqued blue with twenty-four carat gold highlights.

An étagère-cart with antiqued walnut patina, having three oval galleried shelves, the top tier issuing a lamp shown with silk shade, the columnar shaft with foliate base inset with a clock, with a rope-twist-cast bronze handle to each end, the whole supported by pierced lyre-form trestle supports, on splayed feet ending in casters.

An Italian neoclassic style carved wall applique in the form of a classical urn with scrolled handles and foliate boss finial, issuing sprays of gilt and silvered-metal leaves suspending fruiting pomegranates with hand-rubbed finish.

An Italian rococo commode with serpentine-shaped top above a pair of conforming paneled drawers with trumpet flower-cast silvered bronze drawer pulls, above a waved apron with central fleur-de-lys, with shaped paneled angles, the sides richly carved with a foliate urn issuing a floral bouquet with lilies, poppies, rose, and hydrangea with trailing husk detail, on deep cabriole legs carved with stylized foliage.

Julanne. A standing torchiere-form jardinière of Italian neoclassic style, the fluted columnar shaft supporting an acanthus-carved circular bowl with foliate collar and ruffled edge, with foliate-carved collar and waisted socle, on a stepped rectangular base, with antiqued and hand-painted faux blue bardiglio marble finish, with parcel-gilt detail.

Babette. A standing torchiere-form jardinière in the Italian neoclassic style, with a fluted columnar shaft supporting an acanthus-carved bowl with scrolled leaf-tips, the base similarly-carved with a waisted acanthus-carved socle resting on a square plinth, with leaf-tip-carved stepped edge, finished in antiqued white with hand-rubbed edges and highlighted with parcel-gilding and bronzed dark green and black verdigris details.

In the Venetian Rococo style, with hand-rubbed craquelured cream and walnut finish with green highlights, the rectangular seat with loose cushion showcased in a deep-buttoned blue Fortuny silk with bolster cushions, with curved and downswept padded arms, with open sides, over a scalloped seatrail with central foliate clasp, on ruffled cabochon-headed cabriole legs ending in scrolled toes.

In provincial Louis XV style, with an antiqued fruitwood finish, the serpentine-shaped rectangular top with outset corners above a waved frieze carved with floral clasps, on eight cabriole legs ending in toupie feet.

Of Louis XV provincial style with antiqued fruitwood finish, the rectangular slightly dished and eared top above a waved frieze centered to each side by a floral clasp, with waved moulded detail continuing to the cabriole legs ending in scrolled feet.

In the style of the Aesthetic Movement, with patinated walnut finish, the rectangular top with ebonized inset writing panel with incised stylized foliate surround within a channeled border with gilt line detail, above a conforming under-tier with three-quarter turned bamboo-form balustrade gallery, resting on four bamboo-turned legs.

A Spanish baroque style pier mirror with a hand-rubbed and antiqued ochre finish with bronzed walnut and antiqued white highlights, with a rectangular stepped cornice above a deeply scrolled shield form frieze caved with further scrolls and centering a scrolled cartouche, with pronounced scroll flourishes, above a rectangular plate within a paneled side and base surround.

A Spanish baroque style pier mirror with a hand-rubbed and antiqued ochre finish with bronzed walnut and antiqued white highlights, with a rectangular stepped cornice above a deeply scrolled shield form frieze carved with further scrolls and centering a scrolled cartouche, with pronounced scroll flourishes, above a rectangular plate within further scroll-carved sides and base, each side and the lower corners with bound and gathered scrolls.

In the Spanish rococo style, in a hand-rubbed and antiqued ochre finish with bronzed walnut and antiqued white highlights, the serpentine-shaped rectangular top above a shaped frieze carved with strapwork scrolls, the front with deep scrolled shield-form apron carved with further scrolls and centering a scrolled cartouche, on scroll-headed deep cabriole legs joined by a waved x-form stretcher with central shaped panel, on splayed scrolled feet.

Nana. In continental Neoclassic style, with a hand-painted black and parcel-gilt finish using parcel-gilt, the tablet crest rail carved with a series of eight cartouches to the front and reverse, over a rectangular padded back and seat presented in a burgundy mohair, the seatrail carved with a single cartouche and resting on square tapering legs headed by flower head panels. The armchair is ensuite with the side chairs and has padded upholstered arms with foliate-carved terminals.

Nancella. In continental Neoclassic style, with a hand-painted black and parcel-gilt finish using parcel-gilt, the tablet crest rail carved with a series of eight cartouches to the front and reverse, over a rectangular padded back and seat presented in a burgundy mohair, the seatrail carved with a single cartouche and resting on square tapering legs headed by flower head panels. The armchair is ensuite with the side chairs and has padded upholstered arms with foliate-carved terminals.

Of continental neoclassic style, the rectangular top with ebonized hard maple surround with mahogany inlay above a solid frieze carved with foliate cartouches, with a drawer to each end with foliate-cast antiqued bronze pulls, the corners with square paterae, on square tapering paneled legs with waisted collars ending in acanthus-form feet, with an antiqued ebonized finish highlighted with parcel-gilding, extending with two extra leaves.

Nora. In the Louis XVI style, the armchair and ottoman together modeled after an 18th century “duchesse brisee” with layered antiqued brownstone-white finish with rubbed edges, the square padded back, sides and loose cushion seat show in a polychrome embroidered white cotton depicting rose petals and stems, the downswept arms and straight seatrail carved with flower head-filled entrelac, on short turned tapering legs headed by paterae. Ottoman - Of rectangular form with two incurved ends, with loose cushion seat shown in a polychrome embroidered white cotton depicting rose petals and stems, the seatrail carved with flower-filled entrelac, on tapering fluted legs.

Norie. In the Louis XVI style, the armchair and ottoman together modeled after an 18th century “duchesse brisee” with layered antiqued brownstone-white finish with rubbed edges, the square padded back, sides and loose cushion seat show in a polychrome embroidered white cotton depicting rose petals and stems, the downswept arms and straight seatrail carved with flower head-filled entrelac, on short turned tapering legs headed by paterae. Ottoman - Of rectangular form with two incurved ends, with loose cushion seat shown in a polychrome embroidered white cotton depicting rose petals and stems, the seatrail carved with flower-filled entrelac, on tapering fluted legs.

In the Victorian style, the circular top above a flower head-filled entrelac-carved frieze, supported by four incurved supports carved with scrolled, foliate and pierced detail, with central faceted spire with an oval fruiting finial to each end, with layered antiqued brownstone-white finish with hand-rubbed patina.

Amadeo. In the Italian baroque style with ebonized and hand-rubbed antiqued silvered finish, the square aperture surrounded by robustly carved scrolling foliage.

Bartolo. In the Italian baroque style, the square frame with moulded edge carved with central shell and drapery swag continuing around the square aperture with scrolling foliage issuing floral trails, with an ebonized and antiqued hand-rubbed silvered finish.

Luciano. Of baroque design, the ogee moulded square frame with beaded detail and with a foliate clasp to each side surrounding a square aperture, with an ebonized and antiqued hand-rubbed silvered finish.

Ferrantino. In the Italian baroque style, the square frame with stylized ruffle-carved and moulded edge, finished in antiqued hand-rubbed brownstone white with twenty-four carat parcel-gilt detail.

Tanuccio. Of baroque design and with an ebonized and antiqued hand-rubbed silvered silvered finish, the square ogee moulded frame with a simple foliate clasp to each side surrounding a square aperture.

Nicollo. Of baroque design, the square frame with layered bolection mouldings and square aperture, with an ebonized and antiqued hand-rubbed silvered finish.

In the Italian rococo style, the cartouche-shaped plate within a ruffle-carved surround surmounted by a pierced foliate and scroll-carved cresting, with an ochre-brownstone finish.

A French chandelier with six scrolling acanthus branches and a carved canopy, in hard maple, finished in the Margaux finish: antiqued ochre with bronzed walnut and antiqued white highlights, with a light walnut patina.

Regine. In the Italian Empire style, with lobed baluster and ring-turned columnar stem with foliate capital supported by a rectangular plinth base carved with four stylized swans, on a stepped square leaf-tip-carved foot, with a an antiqued hand-rubbed white and parcel-gilt finish.

Solange. In the Italian Empire style, with lobed baluster and ring-turned columnar stem with foliate capital supported by a rectangular plinth base carved with four stylized swans, on a stepped square leaf-tip-carved foot, with a an antiqued hand-rubbed white and twenty-four carat gold finish.

Rosalie. Of Italian Rococo style, with an antiqued walnut patina with rubbed edges, the rectangular cartouche-shaped pierced back with strapwork-form splat centering a richly-carved clasp issuing fruit and layered oak leaves, the seat with loose deep-buttoned cushion shown here in deep plum chenille.

Roseline. Of Italian Rococo style, with an antiqued walnut patina with rubbed edges, the rectangular cartouche-shaped pierced back with strapwork-form splat centering a richly-carved clasp issuing fruit and layered oak leaves, the seat with loose deep-buttoned cushion shown here in deep plum chenille.

In alder wood, the rectangular top with three hand-joined central panels with mahogany finish and with walnut finish to the outer panels, with outset corners mounted on squared baluster supports with squared caps, ending in block feet, with overall warm antiqued patina.

In the Louis XV style, with antiqued white hand-painted and rubbed finish, with an arched rectangular back headed by a central foliate clasp, the arms with scrolled terminals, on cabriole legs headed by flowers and resting on foliate-carved feet, the padded back and seat shown in a blue and white floral damask-style velvet.

Wheel of Fortune. Of overall Italian rococo design with rubbed ebonized finish highlighted with antiqued parcel gilt and silvered detail, the rectangular top with scalloped edge and outset rounded corners inset to each end with a sculpted circular medallion with foliate center surrounded by circular fan and lobed carving, with foliate spandrels, each with a beveled diamante glass top, all above a waved frieze carved with foliate clasps, on deep cabriole legs ending in hoof feet.

Wheels of Fortune. Of overall Italian rococo design with rubbed ebonized finish highlighted with antiqued twenty-four carat parcel gilt and silvered detail, the rectangular top with scalloped edge and outset rounded corners inset to each end with a sculpted circular medallion with foliate center surrounded by circular fan and lobed carving, with foliate spandrels, each with a beveled diamante glass top, all above a waved frieze carved with foliate clasps, on deep cabriole legs ending in hoof feet.