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.

Louis XVI-style Suite of Seat Furniture, Vernis Martin-style rosewood and gilt-metal mounted Vitrine, Louis XV-style kingwood parquetry Vitrine

A pair of Louis XV/XVI
transitional-style kingwood and
tulipwood marquetry Tables Ambulantes,
18th Century, with gilt-metal mounts and
martial trophy inlaid oval tops, each above
three drawers with floral scrolls bordered
by chevron bandings flanked by
conformingly inlaid sides, on cabriole legs
with kidney-shaped undertiers.

A Restauration cherrywood
Etagere, circa, the grey marble top
concealing a rear rising mirror panel
above a pair of lateral frieze drawers,
turned supports and a marble inset panel,
below are three graduated drawers
including a secret compartment, on turned
feet and brass castors.

A Louis XVI-style Suite of Seat
Furniture, circa, upholstered in pale-
green floral brocade, the frames painted in
ivory and gilt, with ribbon-tie borders and
acanthus leaf motifs, on turned and fluted
tapering legs, comprising: wing armchair,
pair of fauteuils and canape.

A Venetian distressed painted Armchair, circa, with cane back and seat, on cabriole legs

A set of four oak Side Chairs, circa, of 18th Century design, with tall upholstered arched backs and seats, on spiral twist legs joined by ‘X’-shaped stretchers

A Vernis Martin-style rosewood and gilt-metal mounted Vitrine, early 18th Century, of serpentine form, with a glazed door, including painted panel depicting a courting couple,

the interior with velvet-lined shelves, on cabriole legs. high by. wide; ft. Whin, by ft. m.

A Louis XVI-style kingwood and gilt-metal mounted small Vitrine, early 18th Century, the galleried velvet-lined top above a pair of leather panelled frieze drawers, a pair of

lateral hinged fall flaps and an open recess, below are opposing glazed grille panels including a door, the sides with chamfered Ionic pilasters, on fluted feet and castors.
An Empire-style gilt-metal Console Table, modern, the bowed green marble top above a pierced panelled frieze applied with foliate corbels, on a single downswept support, hi.

wide.

A German walnut and
crossbanded Bureau, circa, with a
fall enclosing stationery compartments,
below are three inverted serpentine-
fronted long graduated drawers, on
shaped bracket feet.

A Dutch mahogany and ebonised
Tea Kettle Stand, circa, of coopered
form, with a brass carrying handle and
liner, the cylindrical turned tapering sides
on a moulded beech wood circular base
with ball feet.

A French chestnutwood Coffer,
18th Century, with rectangular top and
simple panelled front.

Two similar Spanish
walnut Armchairs, circa, with nailed
hide swing backs and seats, on square legs
joined by stretchers.

A Louis XV-style kingwood parquetry Vitrine, circa, with gilt-metal mounts, the serpentine cornice with a pierced cresting, the glazed door flanked by caryatids and enclosing a

lined interior, on cabriole supports.

An Italian pine and oak Cabinet on Stand, made-up, including late 18th Century components, the dentilled cornice above a pair of fielded panelled doors flanked by figures of

DianAnd fluted mouldings, on spiral twist supports with stretchers and scroll feet.

A French carved beechwood Firescreen, early 18th Century, of
rectangular form, with a pierced foliate
scroll cresting above a conforming frame
and supports.

A Dutch mahogany and floral marquetry Tray, circa, of oval galleried form, with brass carrying handles.

A carved giltwood-framed Mirror, circa, the pierced foliate trellis cresting above a later rectangular plate.

A Louis XV carved and gilt-gesso Fauteuil, circa, with an upholstered cartouche-shaped back and serpentine seat, on cabriole legs, later painted, underframe indistinctly stamped

A pair of Dutch mahogany and marquetry Chairs, circa, the parcel-gilt cresting rails above pierced foliate carved splats, the upholstered seats on sabre legs.

AN ANTIQUE and floral marquetry
Tripod Table, late 18th Century, with a
pie-crust moulded top, on a turned stem
and cabriole supports with claw and ball
feet.

A boulle and ebonised Meuble
d’Appui, circa, with gilt-metal
mounts, the associated gilt painted triple-
arch mirror panel back above a white
breakfront marble top, below are three
doors flanked by caryatids and scroll
corbels, on a shaped plinth base.

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.