Flemish oak Refectory Table,  Louis XV-style tulipwood gilt- metal mounted Bijouterie Cabinet, Dutch marquetry and mahogany ‘X’-frame Armchair

A Flemish oak Refectory Table,
circa, the rectangular top on four
square baluster supports joined by
stretchers.

A Flemish walnut Mirror,
the rectangular ripple moulded
surround with later plate.

A Spanish walnut Armchair, made-
up, the back with fluted uprights, scroll
arms, stuffed seat and fluted legs joined by
a solid stretcher, carved with a shield and
leafy flowerhead.

A Louis XV-style tulipwood gilt-
metal mounted Bijouterie Cabinet,
inlaid throughout with stringing, the
upper part enclosed by a pair of sliding
opposed panels, the base on cabriole legs
ending in sabots

A Flemish carved walnut and upholstered Armchair, circa, the
rectangular back and seat with distressed needlework cover, with acanthus carved overscroll arms, the square and turned legs joined by an ‘H’-shaped stretcher.

A French rosewood and marquetry
Table Ambulante, circa, inlaid with
Chinoiserie scenes, the oval top above
three drawers, on cabriole legs with a
kidney-shaped undertier.

An Italian carved and gilt fluted
gesso corner Console Table, circa,
with a chamfered red marble top above triple scroll brackets, on a rectangular support with female mask capital.

A French Empire Fauteuil
with nailed hide upholstery, the leaf
moulded and reeded arms above sabre
legs with palmette and paterae carved
facings.

A Dutch marquetry and mahogany
‘X’-frame Armchair, circa, the
shield-shaped back and seat covered in
gold dralon, the arms with pierced vase-
shaped splats.

A pair of Italian gilt-gesso small
Wall Mirrors, 18th Century, with foliate
carved surrounds, later plates, together with a similar larger
Mirror, 18th Century.

A walnut parquetry serpentine
Commode, circa, the grey marble
top above three long drawers with rococo
gilt-metal handles and escutcheons, on
bracket feet, possibly German.

A Dutch Colonial ebonised and carved Side Chair, circa, the pierced asymmetrical cresting above a pierced foliate splat, the drop-in seat on cabriole legs with shell carved

knees.

A French Empire mahogany Fauteuil, circa, with a rectangular upholstered back and bowed seat, on ring turned tapering legs surmounted by foliate carved capitals and ball

finials.

A Restauration mahogany Centre
Table, circa, the circular marble top
above triple columnar supports and united
by a concave-sided platform stretcher.

A Directoire mahogany Table, circa, the circular top with a frieze drawer above tapered square legs.

An Italian painted and caned Armchair, circa, the serpentine seat on cabriole legs with scroll feet.

An Empire mahogany Pier Mirror,
circa, the moulded cornice above a
gilt-metal mounted frieze and a painted oil
on canvas panel depicting a contemporary
family scene, below is a rectangular mirror
and plate.

A Louis XVI kingwood parquetry
Bouillotte Table, circa, the brass
galleried top with opposing frieze drawers,
on tapered square legs ending in brass
spade feet.

A Restauration mahogany Wall
Mirror, circa, the moulded cornice
above a black and gilt verre eglomise frieze,
the rectangular plate flanked by columnar
pilasters.

A Louise Philippe mahogany Dressing Chest, circa, the raised mirror back with octagonal supports above a serpentine drawer with lidded compartments, the conforming projecting

base with three long drawers flanked by columnar mouldings headed by foliate corbels, on gadrooned feet.

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.