ORIENTAL FURNITURE: Chinese carved hardwood Display Cabinet, A Japanese four-fold Screen, A Chinese Huang Haul and mother-of-pearl inlaid Dressing Table Mirror

A Chinese black lacquered and
gilt six-fold Screen, modern, with inset
panels of cloisonne, each fold 183 cm. high
by 43cm. wide; 6ft. by  3in.

A Chinese carved hardwood
Display Cabinet, circa 1900, the
asymmetrical open shelves with pierced
galleries, the sides with pierced scroll
panels, on claw and ball feet, 155cm. high
by 81cm. wide; 5ft.  by 2ft. 8in.

A pair of Chinese scarlet
lacquered hide Trunks, circa 1840,
decorated in gilt, 75cm. wide; 2ft.

A Chinese black lacquered Chest,
circa 1720, decorated in gilt, with hinged
cover, brass escutcheon and carrying
handles, the later combined base with
shaped bracket feet and castors, distressed,
81cm. high by 120cm. wide; 2ft. 8in. by
3ft.

A Japanese lacquered two-fold
Screen, circa 1890, with carved ivory
birds on a black ground within a
cinnamon border, with carved cresting
rails and apron panels, on castors,
188cm. high by 88cm. wide; 6ft. 2in.

A Japanese four-fold Screen, circa
1900, the pierced panels carved with
water plants, on castors, each fold 178cm.
high by 65cm. wide; 5ft. 10m. by 2ft

A Japanese two-fold lacquered Screen, circa 1890, applied with ivory birds and foliate branches, on a black ground within a cinnamon border, with carved hardwood frame and

castors, each fold 181cm. high by 84cm. wide; 5ft. l by 2ft. 9in.

A Chinese seven-fold Screen, circa 1900, with painted panels depicting figures, pagodas and landscapes, each fold 169cm. high by 43cm. wide; 5ft. 612in. by  5m.

A Chinese three-fold lacquer Screen, circa 1890, applied with hard stones, mother-of-pearl and ivory depicting figures and trees in exotic gardens, the reverse with gilt

characters, faults, each fold 183 cm. high by 53 cm. wide; 6ft. by  9m.

A Chinese Export black lacquer Bonheur-du-Jour, circa 1800, decorated in gilt with scenes of Chinese life and flowers, the detachable upper section with roundel surmount and

scroll pediment above a pair of oval paneled doors, the writing compartment with hinged cover and baize-lined inset, on ring turned legs, 175cm. high by 61cm. wide; 5ft. 9in. by

2ft.

A gilt-ground four-fold
Coromandel Screen, 20th Century,
decorated with birds and waders upon a
lotus pond within a border of dragons,
the other side with birds in a colorful
garden, 182cm. high; 6ft.

A Japanese carved hardwood and lacquer two-fold Screen, circa 1900, each division with stylized pierced cresting above ivory mounted panels depicting eagles amongst prunes,

181cm. high; 5ft.

A Chinese carved and ebonized Jardiniere Stand, circa 1890, the marble-inset top above a stylized foliate motif apron, on square legs ending in paw feet, 48cm. high by 41cm.

A Chinese scarlet lacquered Dressing Mirror, circa 1920, the large rectangular plate with dragon mask cresting and pierced angle brackets, on splayed feet, 203cm. high by 88cm.

wide; 6ft. 8in. by 2ft

A Chinese carved Huang Armchair, circa 1880, the back with a
circular splat depicting a vase of
owners, the solid seat on square legs
joined by stretchers.

A Chinese large carved hardwood
Jail Universe Stand, circa 1890, the
marble-inset top above a pierced apron,
the four cabriole legs joined by an
under tier, 94cm. high by 46cm.

A Chinese export lacquer Work Table, circa 1830, decorated with gilt and scarlet detail, depicting oriental figures and pavilions, the hinged top revealing a lidded interior, on

baluster-turned supports with stylized paw feet, 64cm. wide; 2ft

A Chinese Huang Haul and mother-of-pearl inlaid Dressing Table Mirror, circa 1880, with a pierced dragon cresting and turned supports with splayed bases, joined by pierced

stretchers, 53cm. wide;  9vn.

A Chinese Huang Haul envelope Card Table, circa 1900, carved with bamboo leaves, the frieze with four short drawers above a pierced apron, on cabriole legs ending in pad feet,

59cm. wide.

A Chinese Huang Haul Altar Table, circa 1880, the rectangular top above a carved key pattern frieze interspersed with animals and fruiting vines, on rectangular open panel end

supports, 190cm. wide; 6ft. 3vzin.

A japanned Cabinet, circa 1700, with engraved pierced brass mounts, the pair of doors depicting a ho-ho bird and pavilions, the interior with numerous small drawers, 70cm. high

by 80cm. wide; 2ft. 3V2in. by 2ft. 71/2m., the carrying handles later, formerly on a stand ?600-800
498    A Chinese carved hardwood Jardiniere Stand, circa 1890, the marble inset top with mother-of-pearl inlaid surround, the pierced foliate frieze above four cabriole legs

joined by stretchers, on claw an ball feet, 46cm. high by 43cm.

A Chinese carved hardwood and mother-of-pearl inlaid Jardiniere Stand, circa 1900, the octagonal marble inset top above four canola legs joined by stretchers, on claw feet,

52cm. high by 31cm. wide.

A carved hardwood marble inset Jardiniere Stand, made-up, the English carved mahogany base with a baluster pillar and tripod support ending in egg and claw feet, 53cm.

George III mahogany Sideboard, Chinese scarlet lacquer Jardiniere Stands, 17th Century-style matched oak Dining Room Suite

A George III mahogany Sideboard, with single frieze drawer, on square tapered legs, 86cm.

A George III mahogany and yew-wood cross banded oval Pembroke Table, the molded folding top above single frieze drawer, on inlaid square tapered legs with spade feet, 105cm.

wide extended

An oak extending Dining Room Table, late 19th Century, with four extra leaves, the rectangular molded top above four turned legs and a central pillar, all on peg feet; together

with a matching open Cabinet for the spare leaves, faults, 365cm. wide extended.

An oak Duet Music Stand, 19th
Century, the trelliswork supports on adjustable
receded pillar with triple sable legs, on castors.

An Edwardian bow-fronted mahogany
/corner Display Cupboard, the broken
pediment above two astragal glazed doors with
two fitted shelves, the similar lower section
with one fitted shelf, on shaped bracket feet,
205cm.

A pair of Chinese scarlet lacquer Jardiniere Stands, with cloisonne circular tops and five cabriole supports, 48cm.

A mahogany Towel Rail, 19th Century, with slender turned and square supports surmounted by finials, 122cm.

A George Ill-style green velvet upholstered Library Armchair, with an arched back and molded square legs joined by stretchers.

A Regency gilt wood and ebonized convex Wall Mirror, with an eagle cresting and ball beaded surround, repainted, 84cm.

A walnut and cross banded Chest, early
18th Century, with later veneers, the molded
top above two short and three long graduated
drawers, on bracket feet, 93cm.

A George II mahogany Press
Cupboard-on-Stand, the cross banded top
above a pair of fielded panel doors enclosing
hanging space, the base with a pair of drawers,
on later cabriole feet, altered, 120cm.

A George III mahogany Dumb Waiter, circa 1780, the three graduated dish molded tiers with a central turned pillar, on tripod cabriole supports, restored, top tier later, 101cm.

A rosewood Sofa Table, the rounded rectangular top with alternate real and opposing dummy frieze drawers, the tapered pillar support on quadruple splayed supports and brass

castors, 158cm.

A Victorian carved gilt wood Over mantel Mirror, with an arched molded surround, with beaded moldings, 159cm. high by 131cm.

An Edwardian inlaid and upholstered Chaise Longer, with turned legs, on castors, 176cm.

A Victorian walnut cylinder-top
Writing Desk, the turned galley above the cylinder which opens to
compartments and an adjustable
tooled leather frieze drawers,
resting on twin pedestals each containing three
graduated drawers, two drawers stamped James
Winter.

James Winter is recorded as being a furniture broker, appraiser and undertaker 1823, and his trade card indicated that he offered A Liberal Price for second hand Furniture in

Large or Small quantities.
See Dictionary of English Furniture Makers 1660-1840, by Beard & Gilbert, pub. Furniture History Society, p. 992.

A 17th Century-style matched oak
Dining Room Suite, comprising: a draw-leaf
table, on carved bulbous pillars and splayed
legs joined by a stretcher, 150cm. long extended,
six dining chairs and a sideboard with
linen-fold panel doors, 135cm.

A Chinese carved wood Jardiniere Stand, late 19th Century, with inset marble top, the beaded octagonal frieze above four elaborately pierced and carved foliate cabriole legs

joined by stretchers, 61cm.

A George III mahogany rectangular Card Table, the fold-over top above a plain frieze, on square turned legs, 90cm.

A French mahogany Etagere, with gilt-metal mounts, the rectangular top with canted corners and twin handles above a smaller lower shelf, on shaped square legs, 60cm.

English, French and Italian Toilet Mirrors

The antique toilet mirror, or dressing glass was introduced in England after 1700 and was fairly rare up to about 1740. Early examples, like that shown above, had a shaped mirror similar to wall mirrors, frequently with a gilt edging around the bevelled glass. The uprights could be turned or straight and the mirror could be tilted by a screw action. Under the mirror was either a shaped box made of deal and veneered in walnut, with tiered small drawers, or a miniature bureau with a fall, also veneered in walnut or possibly of a jappaned type like that above of c.1710 date. They are very charming miniature pieces with all the characteristics of larger furniture as far as mouldings, matched veneers and shaping is concerned. Price Range: Japanned and Walnut.
A mahogany French toilet mirror of c.1750 with a rectangular mirror, having a shaped moulding  or inward point  at the top corners similar to wall mirrors of the period. The supports are straight and tapering with turned finials at the top and there is a gilt surround to the glass. The top of the base shows an ovolo edge moulding and the drawer fronts are concave. The whole mirror stands on ogee bracket feet. Note that the key plate of the centre drawer is a replacement but that there is no pull, whereas the outer drawers each have a small pull or drop handle. This is a normal characteristic of these toilet mirrors. Usually the base box is made of pine with mahogany veneer on the outer surfaces.
When there is no box of drawers beneath the English toilet mirror, it is known as a cheval glass, as above. This example of c.1750 again has straight tapering uprights with turned brass finials at the top. Note that the mirror’s top corners are a simple curve in this case, without the inward point of the preceding example and that there is no gilt edging.
A plain Italian rectangular mahogany cheval glass of c.1780 veneered across the mirror frame with a boxwood stringing line around it. The square tapering uprights have no finials and it is probable that these were originally  fitted and have been lost. Good reproduction replacements are easily obtained. Where the uprights are square, the cross stretcher on the base, between them, also follows this shape.
An oval mahogany ‘Hepplewhite’ toilet mirror of a type which, with the shield back, has been much reproduced. This one is of c.1785 date and has a mirror frame faced with cross-banded mahogany. The box stand is veneered in figured mahogany and has a serpentine front as well as cross banding around the top. The feet are of the ogee bracket type. The drawers are edged with boxwood stringing and the inset keyhole and outer drawer knobs are ivory. The drawer linings are thin oak. This shape and the shield shape, deriving from chair back shapes of the period, are the most popular of late Georgian toilet mirror purchasers
Serpentine front
Figured woods and inlays
A rectangular French mahogany toilet mirror of c.1780 with reeded uprights ending in turned finials. The mirror frame is cross-banded with mahogany veneer and has a boxwood stringing line inlaid around the edge. The front of the box is slightly bowed and has the same boxwood stringing line around it, as have the drawers. The bracket feet are of a fairly sophisticated shape associated with the later eighteenth century.
A later Georgian mahogany toilet mirror of c.1810 with turned uprights to the rectangular mirror. The turning shows the double-beaded or `bamboo-ed’ effect beloved to the period. The front is bowed in a later shape from that originally introduced c.1780 and the ivory inlaid keyhole has been replaced later, due to damage, by another wood. Although the box carcase remains deal, the drawer linings are mahogany of a plain grain.
The veneers are highly figured and there is a dark stringing line around the drawers and top edge. The frame is again cross-veneered in mahogany and the mirror stands on ball feet.
Value points: Figured woods and inlays
N.B. It is interesting to note that turned uprights are not popular in the trade. Many a quick transition to square uprights has been made in order to enhance price.

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.

Early XVIII Century mirrors

At the end of the 17th century, a mirror about 1m x 90cm (40in x 36in) would have cost the equivalent of 20,000 in today’s currency. The earliest mirrors were handheld, but by the 18th century, the mirror had become an essential part of the fashionable home.
ENGLISH GILDED EASEL MIRROR
This mirror was designed to be placed on a table. Mirror backs were often covered with softwood, to protect the glass and metal from being oxidised by the light. c.1725.
A BRIEF HISTORY OF MIRROR IN EUROPE
Mirrors have been used for thousands of years. They were believed to foretell the future and to bring bad luck, especially when broken. Many people thought that to see your reflection was to see your soul, and for years the Church was against the use of mirrors.
The earliest known mirror was made of bronze, and ancient civilizations also used silver, gold, tin, steel, obsidian (volcanic glass), and rock crystal. Curved glass mirrors, made by cutting a sphere in two, were produced during the Middle Ages, but it was not until the 15th century that it was possible to create flat, colourless glass, known as “crystallo”. This technique created relatively small pieces of glass.
VENETIAN GLASSMAKERS MAKING MIRRORS
Crystallo, or crystalline glass, and blown glass were developed in Venice. The Venetian workshops were the only places producing glass mirrors before the mid 17th century The commercial importance of this discovery prompted the Venetian authorities to forbid glassmakers to move from their headquarters on the island of Murano on pain of death.
Foliage motifs
DEVELOPMENTS OF MIRRORS IN EUROPE
Although some Venetian glassmakers were seduced into setting up workshops, principally in Germany and the Low Countries, it was not until around 1663 that Murano’s supremacy was challenged. Louis XIV of France established a glassworks at Tourlaville, while in England, a glassworks was set up at Vauxhall to produce mirrors for the court of Charles II.
At the end of the 17th century, Bernard Perrot, working at Tourlaville, developed the casting method, which made it possible to create larger sheets of glass.
The glass was translucent but not transparent, as minerals in the sand affected the result. Artisans cut, ground, engraved, polished, and silvered the glass, using mercury to produce a reflective surface. In 1835, real silver was used for the first time, relieving the makers of the hazards of mercury poisoning.
Female masks
Marble fire surround
GEORGE II CHIMNEY PIECE MIRROR
This giltwood mirror, attributed to Matthias Lock, has
an elaborately carved frame with Rococo details of fruit,
leaves, birds, scrolls, and Chinoiserie elements. c 1755.
CHANGING FASHIONS
The production of larger sheets of glass enabled mirrors to become the focal point of the room, and to reflect light around what were previously very dark homes. The Salle des Glaces at the Palace of Versailles (see p.34) must have made a powerful
impact on those who had never seen anything other than a small hand mirror.
In England, 1700-40 marked a golden age of mirror production while the 20 per cent tax on mirrors was temporarily abolished. Large mirrors were designed to be placed over the mantelpiece, and long pier glasses were made, often in pairs, to fit between windows in grand houses. Fashionable country homes were furnished with fine mirrors. In 1703, John Gumley produced 3m-high (10ft) mirrors decorated with blue glass for Chatsworth.
From about 1725, English design was inspired by Palladian architecture (see p.96), often mirroring architectural details of the house in the frame. Oval mirrors were also very popular.
FRAME DESIGN
Due to their size and the versatility of frame carving, mirrors were among the first household objects to reflect fashion. At the turn of the 18th century, lacquer panels or japanning were sought after. Later, fashion favoured elaborately carved Rococo frames, including asymmetrical mirrors with Chinoiserie, C-scrolls, and foliage.
KEY DATES
20th century BC: Hand-held polished bronze mirror. 6th century: Etruscan hand mirror.
1291: Venetian Republic requires glassworkers to move to the island of Murano.
1448: Term “crystalline glass” appears in the inventory of Rene d’Anjou.
1571-92: Venetian craftsman, Jacopo Verzelini, sets up glassworks in the City of London.
1612: L’Arte Vietraria, by Antonio Neri, about the processes of glassmaking, published in Florence.
1618: Sir Robert Mansell obtains patent to set up a London glasshouse employing Venetian glassmakers.
1665: Nicholas du Noyer sets up a glass house employing 200 workers in Paris.
C.1670: Bernard Perrot invents casting technique, making it possible to create larger sheets of glass.
1676: George Ravenscroft invents lead crystal glass by adding lead oxide to glass.
1678: Patent granted to John Roberts’ “invention of grinding, polishing and diamonding glass plates for looking glasses… by the motion of water and wheels.”
1719: Real Fabrica de Coina, probably Portugal’s first mirror factory, established by John Beare.
MIRROR BOX
This stunning box mirror has a number of
architectural elements, including the broken
pediment and the two marble columns flanking
the mirror plate. The piece is inlaid with
precious stones. This mirror was once owned
by Marie de Medici.
CARVED, GILDED GIRANDOLE
This is one of a pair of fine giltwood girandoles after a design by Thomas Johnson, published in 1758. The gilding and candles helped to reflect more light around a room. c,1760.
VENETIAN OVAL MIRROR
This oval-shaped glass is typical of Italian design and uses etched and applied glass to frame the central oval mirror. Its Venetian origin would have made it highly covetable. Whole teams of artisans were needed to create mirrors like this.