Chinese carved rosewood Display Cabinet, Victorian mahogany rectangular Card Table, Victorian walnut telescopic Dining Table, oak Buffet, 20th Century

A Chinese carved rosewood Display
Cabinet in two parts, late 19th Century, the
upper section with open shelves and pierced
fretwork, the base enclosed by a pair of panel
doors above a pierced apron, on stile feet,
191cm. high by 98cm.

A George III mahogany ‘D’-end Dining
Table, circa 1790, with a drop-leaf and
tapered square supports including gate leg
action, altered and restored, 166cm. long by 106cm.
wide fully extended.

A George III mahogany Stool, circa 1780, the dipped and nailed seat upholstered in beige brocade with over-scroll sides, the chamfered square legs joined by ‘H’-shaped

stretchers.

A Victorian mahogany rectangular Card Table, with a carved frieze, on a columnar support and plat base with paw feet, 91cm.

A Chinese hardwood Jardiniere Stand, late 19th Century, the inset marble top above pierced and foliate carved frieze, on four slender foliage carved legs with an ‘X’-shaped

stretcher, on paw feet, 93cm.

A set of four George IV mahogany rail-back Dining Chairs, with ‘X’-shaped splats centered by pattered, on turned and receded legs; together with an Armchair and a single Chair,

all upholstered in striped brocade.

A George Ill-style mahogany Cellaret,
the hinged rectangular top above cellaret and
drawer, on cabriole legs and claw and ball feet,
52cm.

A George III mahogany Chest, the
rectangular top above three long graduated drawers, on bracket feet, 110cm.

A George Ill-style mahogany Cupboard, made-up, the rectangular top above two deep central drawers flanked by two cupboards each enclosed by a paneled door, on bracket feet,

137cm.

A Chippendale-style mahogany two-fold Fire screen, each panel with a fabric scene above pierced fretwork, on slender turned legs, 125cm.

A Japanese mahogany Cabinet, late 19th Century, with an arrangement of eight drawers and a pair of sliding doors decorated with metalwork, 59cm.

An Edwardian mahogany Side Chair, the rectangular back with lyre splat, the upholstered seat on turned tapered fluted legs.

A set of six Victorian mahogany Dining
Chairs, the balloon-shaped backs and
serpentine seats upholstered in white damask,
on baluster receded legs and castors.

A George IV walnut Tea Caddy, of
shaped sarcophagus form, with fitted interior,
32cm.

A late Victorian walnut telescopic Dining Table, the rectangular rounded top with two additional leaves, on cabriole legs with ball and claw feet, on castors, with winding

handle, 175cm. wide extended.

A set of six Chippendale-style mahogany Dining Chairs, with pierced shaped vase splats and drop-in seats, on square legs.

An early Victorian mahogany Pembroke Table, the rectangular top with two fall leaves above one real and one dummy drawer, on turned tapering legs, 91cm.

A Louis XVI-style gilt wood upholstered two-seater Settee, 19th Century, the shaped rectangular rope-twist surround containing a tapestry, worn, on similar seat, with padded

arms, having carved frieze and fluted tapering legs, worn, 130cm.

A carved oak frame Wall Mirror, 19th Century, the rectangular beveled plate within a pierced foliate scroll surround, faults, 114cm. high by 93cm.

A set of ten 17th Century-style oak Dining Chairs, the stuffed seats and backs covered in striped material, on plain chamfered square supports joined by stretchers.

An oak Buffet, 20th Century, the rectangular top above four short drawers between two cupboards each enclosed by a paneled door, above two apron drawers, on dwarf cup and cover

supports and plinth base, 138cm.

A George Ill-style mahogany Sideboard,
with a drawer above an arched apron flanked
by a pair of doors, on tapered square legs with
spade feet, 195cm.

A Dutch ebonized and simulated tortoiseshell Wall Mirror, 19th Century, of rectangular form with ripple moldings, 70 by 64cm.

MIRRORS  wall, and pier glasses
The wall mirrors of the walnut period were mounted in a rectangular frame of deal, with a convex section which was veneered in walnut and embellished with parquetry or marquetry if required.
With the influence of architects (and particularly William Kent) on furnishings in the 1715-1740 period, the wall mirror became the object of architectural treatment. There were essentially two sorts of mirrors in a room  an overmantel mirror above the fireplace, and pier glasses on the pier walls between windows, hung over pier tables. The overmantels tended to be given the full treatment  pediments, etc. etc., and are rather outside the scope of the normal collector. However the narrow pier glasses can be used in the modern house and are quite charming.
The original Vauxhall glass was rather thin and had a very shallow bevel. Where the glass was very long it had to be made in two pieces. Gesso was often used for the gilt versions and was useful for less important
frames where the cost of carving was high.
From about 1745 a lighter form was used in rather rococo style and the Adam and Chippendale designs reflect this. Later on the convex mirror became popular with its gilt balls and surmounting eagle.
At the turn of the eighteenth century mirror decoration was rather French Empire in style  neo-classical. As the century progressed, manufacturers made large overmantels and smaller girandoles in plaster which
emulated rococo or exuberant French styles.
Value Points:
Carved wood frame
Original glass in good/fair condition
Original gilding
Condition of plaster or gesso  frames are expensive to repair.
A walnut cushion’ mirror with convex frame inlaid with seaweed marquetry. The mouldings are in cross-grained walnut and there is a large cresting with a fret-cut border of seaweed type enclosing a panel of
more marquetry. The glass looks like a replacement. The cresting is often missing, in which case the price is less than half. 1680-1700
A pier glass in gilt with the shallow bevel of the original Vauxhall glass clearly evident.
More architectural pier glass with broken pediment, made in two pieces of bevelled glass. The frame is gilt.
1700-1720

A wall mirror in a carved gilt frame, in the rococo style. 1740-1750

Still very
architectural  gilt frame similar to designs of William Jones in 1739.
Heavy architectural pier glass in the William Kent manner.
A carved and gilt gesso glass with Prince of Wales feathers decoration above and shell below.
A mahogany framed mirror with fret-cut cresting and baseboards.
A mahogany and gilt frame with carved pediments.
1740-1750
A mahogany and gilt mirror which shows the transition from the grandness of 565 to the relative simplicity of 567. The carved and gilded basket of flowers, together with flower and leaf down the sides, add to value.
c. 1745
A Chinese rococo mirror in the Chippendale manner. The larger sizes are more valuable.
1750-1760
A rococo Chippendale oval giltwood mirror with foliage, C scrolls and urns. Again size important.
A convex gilt mirror surmounted by an eagle, of a type reproduced for over one hundred years.
1790-1820

An unusual mantel mirror in the Chinese rococo manner with scroll, leaf, branch and ornithological decoration  birds were always popular.
c. 1760
An oval gilt wall mirror surmounted by a vase and scroll pediment.
A nineteenth century mirror with pillar decoration.
Early 19th century
A nineteenth century pier glass with an eagle surmounting it and copious decoration  two female busts, two birds, flowers, scrolls and acanthus leaves. In the style of Thomas Johnson (1760) but a later
reproduction.