A simulated bamboo Dining Room Suite, Edwardian-style antique and satinwood-inlaid square revolving Bookcase, antique circular drop-leaf Table

A simulated bamboo Dining Room Suite, comprising: a twin-door Side Cabinet, cm., six Standard Dining Chairs and a pair of Standard Lamps, together with an associated Dining

Table, the under-painted glass top on a scrolled ironwork base, 260cm. long, with two leaf extensions.

An Edwardian-style antique and satinwood-inlaid square revolving Bookcase, made-up, 48cm.

An Edwardian antique
rectangular Sutherland Table, 77cm.
wide; together with a pair of beech wood
spindle-back Chairs .

A George IV antique pedestal Table, circa 1825, the rectangular tilt-top with broad cross banding, the turned pillar on quadruple splayed legs eding in brass paw finials, now

without castors, 132cm. long; 4ft.

A Victorian walnut and inlaid Davenport, with real and opposing dummy drawers to the sides, 53cm.

An early 19th Century antique
and string-inlaid Chamber Organ, with a
bellows action and a two-and-a-half
octave keyboard, the side with stops and
levers, on later turned legs, 62cm.

A antique circular drop-leaf Table, 18th Century, with alterations, with gate leg action, on molded and chamfered square legs, 130cm., formerly part of a larger table .

A camphorwood and brass-bound Chest, 19th Century, 102cm.

A Victorian walnut Display
Cabinet in the William and Mary-style,
with canted sides and inlaid with
stringing, the beveled glass door
enclosing a velvet-lined interior with a
mirror-back, below are turned legs and
an under tier, on bun feet, fitted for
electric light, possibly American, 156cm.
high by 99cm.;

A George IV antique Pembroke Table, with opposing frieze drawers, on a square pillar and quadruple splayed legs eding in brass paws and later bun feet, 127cm.

A George Ill-style antique pedestal Desk, with a green tooled leather inset top and bracket feet, 121cm.

A George III antique Elbow Chair, with a tub-shaped upholstered back, on molded square tapering legs joined by associated shaped stretcher, restored.

A George III antique semi-circular Tea Table, with tapered square legs, 82cm.

A pair of Victorian walnut balloon-back Chairs, on cabriole legs

A George I-style beech wood and
upholstered Armchair, stained to
simulate walnut, the back and seat
covered in nailed needlework, with
shepherd’s crook arms, the cabriole legs
with fan-carved knees, on claw and ball
feet, frame severely distressed  .

A set of four George III Provincial
antique Dining Chairs, including an
armchair, with pierced splats and
drop-in seats, restored.

A set of four Haply white-style
chestnut Dining Chairs, 19th Century,
including a pair with later arms, restored; and a set of five similar stained wood standard Dining Chairs.

A late George III faded antique
Chest of two short and three long
drawers, on bracket feet, 89cm.

A George Ill-style antique serpentine-front Side Table, including 18th Century components, with a small drawer, on tapered square legs, cm.

An Edwardian antique and inlaid small Bureau, with three drawers, on cabriole legs, 61cm.

A George III antique and string inlaid Side Table, with a small drawer, on tapered square legs, 91cm.

A George III antique and string inlaid square Washstand, with a divided hinged top above a pair of doors and two drawers, 59cm., restored.

A late George III antique and
inlaid bow-front Chest of two short and
three long drawers, on splayed bracket
feet, restored, 105cm.

George II oak and burr wood banded Chest-on-Stand, Dutch mahogany and satinwood oval Centre Table, Wing Armchair

An Edwardian ‘Regency-style’ Berger Chair, the rectangular caned back with two loose cushions, on turned tapering legs with castors.

A French carved walnut Buffet in the
18th Century style, 20th Century, the raised
back with cupboards, the breakfront base with
three frieze drawers above four doors with
fielded cartouche panels, on scroll feet, 148cm.
high by 206cm.

A George II oak and burr wood banded Chest-on-Stand, circa 1730, with a molded cornice and fielded panel sides, the upper part with two short and three long graduated drawers,

the base with three short drawers, a shaped apron and cabriole legs on pad feet, 152cm. high by 120cm.

A William and Mary Chest-on-Stand, circa 1690, the molded cornice above two short and three long graduated drawers, the base with three short drawers above a shaped apron, on

later baluster turned legs joined by waved stretchers, restored, 155cm. high by 97cm.

A Charles II oak oval Gate leg Table, circa 1680, the square and baluster turned legs joined by stretchers, 100 by 125cm.

An oak Dresser, 18th Century, the
associated open shelf back above a later
molded top with three frieze drawers and a
shaped apron, on chamfered square legs joined
by a platform under tier, 212cm. high by 155cm.

An American painted pine semi-circular Table, circa 1800, on turned pillar and tripod base, 103cm.

A Dutch mahogany and floral parquetry Mirror, 19th Century, of rectangular form, 61cm. high by 51cm.

A Victorian mahogany rectangular adjustable Reading Table, on a chamfered pillar and platform base, 90cm.

A Victorian simulated bamboo Side Table, the rectangular top inset with blue leather above a frieze drawer, on turned legs.

A Dutch mahogany and satinwood oval Centre Table, 18th Century, with inlay and chevron stringing, on tapered square legs, restored, 104cm.

A George III mahogany skeleton frame Dressing Table Mirror, circa 1790, with an oval swiveling plate, 84cm. high by 66cm.

A Victorian walnut circular Breakfast
Table, on carved columnar support and
reform base with turned feet, 132cm.

A George Ill-style mahogany Armchair,
with a pierced ladder back above swept arms and a stuffed seat, on tapered square legs.

A Victorian rosewood and inlaid
octagonal Centre Table, on turned supports
joined by an under tier, one castor missing, 74cm.

An Edwardian rosewood and inlaid envelope Card Table, on tapered square legs joined by shaped stretchers, with an urn finial, 57cm.

A Continental rosewood Settee, the padded back, arms and seat upholstered in patterned fabric, on cabriole legs, 165cm.

A George Ill-style mahogany small Tea Table, the semi-circular fold-over top above a frieze compartment, on turned tapering legs with pad feet, 45cm.

An Edwardian mahogany Bureau Bookcase, inlaid with stringing, the pair of astragal doors enclosing shelves above the angled fall and four long graduated drawers, on bracket

feet, 203cm. high by 95cm.

A reproduction mahogany and brass-bound Military Chest, in two parts, fitted with two short and three long drawers, on bracket feet, 95cm.

A George Ill-style mahogany Wing Armchair, upholstered in plum-colored velvet, on square legs.

Late XVIII Century Mirrors

Nowhere was the influence of Rococo style stronger than in mirror design. It was difficult to produce big sheets of glass, so large mirrors were often made of several pieces of glass. 18th-century glass tends to be thin with shallow bevels. Many pattern books were published at the time, and as a result many pieces show influences from other countries.
in the early part of the century, mirror frames were usually made of carved gilt or silvered gesso on a wooden base, and then walnut wads used with giltwood until the start of the Rococo period, when carved giltwood and mahogany took over. Costly materials such as coloured and etched glass, were sometimes included. Candelabra were often attached to the base of frames (known as girandoles) to reflect light into dark rooms and cast dancing shadows on the walls.
Frames were made from softwoods such as pine and fruitwoods. making it possible to carve cure es. scalloped shells, and ornate cartoucines with relative ease. The joints where gessoed and painted with gold or silver leaf.
Popular motifs included acanthus leaves, egg-and-dart moulding. and cresting, often depicting birds with outstretched wings. Bird motifs  were popular in America. It is difficult to distinguish American mirrors from the English ones that were imported in large quantities, partly because the American and European species of spruce, which were often used in the frames, are ver similar.
The crest displays the crown of the original owner.
Gilded Classical figures flank
Decorative motifs are etched onto the reverse side of coloured glass,
Giltwood detailing conceals the joins between the glass.
PIER MIRROR
This elegant mirror would have been placed above a pier table and was probably one of a pair. Pier mirrors were designed to hang between the windows in a drawing room. As it was difficult to manufacture large mirrors, two plates of glass are joined by a gilt wooden frame. The cobalt-blue etched glass inserts
were designed to glow in candlelight where the design is etched on the back of the glass. Classical forms were fashionable, as seen by the trumpet-bearing maidens on the top of the mirror. Frames were more influenced by fashion than larger items of furniture, so they are good indicators of contemporary styles. c.1735.
ENGLISH PIER GLASS MIRROR
This mirror is a fine example of the Palladian style. with a central mask set into the crest. Decorated with carved and gilded gesso, this pier glass is a rare find because it still retains the original candle arms, which are often missing from pieces of this period. c.1720.
MIRROR WITH PAINTED FRAME
This highly coloured Venetian mirror frame is reminiscent of Italian painted furniture of the time, but it also has elements of Louis XV style in the scrolled feet and curvaceous frame.
The frame is painted and has highlights picked out in gilt. c.1760.
GERMAN MIRROR
This south German wall mirror frame is made of carved and gilded wood. The foliate carving winds around the frame to make a curvaceous rectangular shape. The crown and pendant are typical of the asymmetrical Rococo style.
Mid 18th century.
ENGLISH MIRROR
One of a pair, this walnut mirror features a gilt carved phoenix flanked by a broken pediment terminating in carved and gilt foliage. The birds on the crests of the two mirrors face in different directions, indicating that the mirrors were originally placed next to each other c.1740.
GERMAN MIRROR
In the early 18th century, Germans continued to favour designs that were no longer fashionable in France or England. The pelmet in the cresting and the heavy design features are similar to late 17th-century styles, but the scrolling foliage decoration is typical of the Rococo style.
c.1750.
ENGLISH CARTOUCHE MIRROR
This cartouche-shaped mirror is a good example of the English interpretation of Rococo. C-scrolls and curved foliage were very popular motifs in all Rococo pieces, but the carving of this mirror frame is less ornate than that on French pieces of the period. c.1760.
ITALIAN GIRANDOLE MIRROR
This Italian late Rococo mirror is strikingly similar to English and French designs of the time. It is made of carved and gilded soft wood. A candle holder is positioned at the base of the glass. Mirrors incorporating candle holders, girandoles, were popular in the Rococo period. c. 1770.
ENGLISH GEORGE II MIRROR
This bevelled mirror frame is made of carved giltwood and red lacquer. The pierced giltwood frame is carved at the top with scrolling foliate cresting, flanked by two bird’s heads. The frame is decorated with birds, flowers, acanthus leaves, strapwork; and a cartouche at the base.
ITALIAN OVERMANTEL MIRROR
This large mirror uses many different sizes of plate in the frame. The joints are disguised by carved, gilt fillets across the larger pane of glass and scroll elements along the sides. Many smaller pieces of glass alongside the main mirror reflect additional light. c.1750.
AMERICAN CHIPPENDALE MIRROR
This mirror is a fine example of Chippendale style. Made of highly polished mahogany, it lacks the gilt decoration of many pieces of the period. The interior of the frame surrounding the glass is double moulded and both the crest and base are serpentine shaped with delicate ears. Mid 18th cootory.
AMERICAN CHIPPENDALE MIRROR
This mirror frame in the Chippendale style is made of walnut with parcel gilding. The crest is decorated with a foliate design. It is attributed to John Elliott of Philadelphia, who both made and imported mirror frames. Many British Chippendale-style frames were exported to the colonies at this time.
ENGLISH CHIPPENDALE MIRROR
Mirrors of this design, often without a gilt bevel surrounding the plate, were exported in large numbers from England, spreading the Chippendale style. This frame is made of pine veneered in walnut and parcel gilt. The candle holders are decorated with leaf motifs. c.1750.