Victorian walnut Wellington Chest, George Ill-style painted break-front Pier Cabinet, 18th Century-style Continental carved beech wood Armchair

A late Victorian walnut Wellington Chest of seven drawers flanked by hinged pilasters, 59cm.

A late George III antique and kingwood cross banded semi-circular Card Table, inlaid with stringing, on tapered square legs, restored, 91cm.

A Regency-style antique and cross banded small bow-front Chest of three long drawers, on bracket feet, 87cm.

An Art Deco mirror-glass mounted Cocktail Cabinet, the applied copper tinted and smoked glass bandings decorated with etched designs, the pair of doors revealing a burr maple

veneered fitted interior, on block supports, 110cm.

A large maple pedestal Desk, the shaped leather inset top above an arrangement of seven drawers, on carved cabriole legs, 183cm.; together with a small bow-front Cabinet en

suite, with an open recess above a pair of doors and cabriole legs, 61cm.
A Louis XVI-style carved gilt wood Jardiniere, with a metal liner, the pairs of fluted turned supports united by a reform under tier, on scroll feet, 66cm.

Two cream painted and parcel-gilt triptych Dressing Table Mirrors, with ornate carved surrounds; together with three beveled and etched glass triptych Dressing Table Mirrors.

A Victorian ebonized and
mother-of-pearl inlaid Occasional Chair,
the shaped papier-mache splat with
decoration, the caned seat on
cabriole legs.

A Victorian walnut small Bookcase,
enclosed by a pair of glazed panel doors,
on a plinth base with bun feet, 91cm.

A pair of late George III antique
‘D’-shaped Table Eds, with receded
borders, on ring turned legs, 92cm.

An early Victorian rectangular antique Occasional Table, now with a reduced chamfered stem, on a shaped platform base, 70cm.

A antique Collector’s Cabinet, with two columns of seven drawers, on a plinth base.

A George Ill-style painted break-front Pier Cabinet, with bowed sides, the diaper decorated frieze above three panel doors divided by simulated fluted pilasters, 158cm.;

together with a ‘D’-ed pedestal Dining Table en suite, with a spare leaf, the simulated marble top on twin turned supports and splayed legs, cm.

An Italian carved gilt wood and
green painted Bedroom Suite in
rococo-style, comprising: a Double Bed
Frame, decorated with reserved
cartouches depicting floral sprays and
cherubs, 194cm., a pair of
serpentine Console Tables, one with a
marble top, 67cm., a marble top low
serpentine Occasional Table, on
cabriole legs, 64cm., a serpentine
Stool, on cabriole legs, a Berger and a
Dressing Table, the serpentine marble
top above three drawers, 132cm.

A pair of carved and gilt painted
Console Brackets, 77cm. high; together
with a Florentine carved wildwood
rectangular Wall Mirror, with an ornate
foliate pierced frame, 70 by 86cm.

A George III antique Wing Armchair, upholstered in pale-blue fabric, on chamfered square legs joined by stretchers.

A George Ill-style antique standing Corner Cupboard in two sections, the crenellated cornice above two pairs of fielded panel doors, on bracket feet, 198cm. nigh by 103cm.

An 18th Century-style Continental
carved beech wood Armchair, with a
pierced splat, on carved cabriole legs.

A red lacquer Side
Cabinet, with gilt painted decoration
depicting Oriental scenes, the central
bowed cupboard door above four
cabriole legs, 96cm.

A three-piece black lacquer
Berger Suite, with double
carved backs and sides and loose yellow
damask cushions, on carved cabriole legs
with claw and ball feet, comprising: a
Settee and a pair of Armchairs.

A black lacquer tub-shaped Berger, with decoration similar to the previous lot, on square legs    .

A nest of three black lacquer  Occasional Tables, with bowed tops, on sleder turned legs and splayed feet, 54cm.

Dutch parquetry and walnut Games Table, Italian Roman carved and gilt Stool, George III satinwood Knife Box

A French-style boucle and ebonized Meoble dapped, circa 1860, with gilt-metal mounts, the break-front with an oval paneled door, the bowed wings with a pair of doors enclosing a

velvet-lined and shelved interior, on a plinth base, wing door lacking glazed panel, 102cm. high by 183cm. wide; 3ft. 4in.

A pair of Louis XV-style Berger’s,
circa 1900, with ivory painted and
parcel-gilt frames carved with pattered,
upholstered in individual fancy, the
bowed seats with cushions, on cabriole
legs.

A Dutch parquetry and walnut
Games Table, circa 1790, the fold-over
top with projecting corners and
revealing a chessboard and playing-card
motifs, the shaped frieze above slender
square cabriole legs, 75cm. wide;
2ft. 52in.

A Louis XV walnut Fauteuil Frame, circa 1750, with pattered cresting rail and bowed apron, on cabriole legs, lacking upholstery.

A French kingwood and parquetry Suite, circa 1890, inlaid with masks and arabesques, comprising: a set of eight spoon-back chairs, including two armchairs, with vase-shaped

splats and button upholstered bowed seats, on turned and fluted tapering legs; together with a Card Table, with projecting rounded corners and gilt-metal mounts, the turned and

fluted tapering legs joined by an ‘X’-shaped stretcher.

An Italian Roman carved and gilt Stool, circa 1740, with stuffed rectangular seat, the ornate scroll supports with masks and stretcher, 76cm. wide.

A Dutch mahogany Offal tailed, circa 1800, with chevron stringing and canted corners, the hinged cover with a den tilled frieze and revealing two folding tiers, the sides with

slides, the two drawers above a pair of doors, on tapered square feet, 102cm. wide;
3ft. 4in.

A Florentine-carved gilt wood-
framed Wall Mirror, circa 1760, the
pierced foliate scroll surround with
cherub heads, the rectangular plate with
a molded border, faults, 66cm. high by
46cm. wide; 2ft. 2in. by  6in.

A French mahogany Commode, circa 1840, with fluted terminals and a marble top above four long drawers and a plinth base with block feet, 97cm. high by 100cm. wide; 3ft. 2in. by

3ft. 3in.

TEA CADDIES, WRITING BOXES, etc.

A George III satinwood Knife Box, circa 1790, with chevron-strung borders, the hinged cover revealing a star medallion and cutlery apertures, 23cm. wide; 9in.

A George III mahogany Knife Box, circa 1790, with chevron banding, the hinged cover revealing cruder divisions, 22cm. wide; 83Mn.

A Regency satinwood Tea Caddy, circa 1810, of sarcophagus form, with chevron banding, the hinged cover revealing a pair of lidded divisions and an aperture, on bun feet, 30cm.

wide;

A Danish painted pine Casket,
circa 1770, with hinged cover and
chamfered corners, the frieze with name
and date 1880, 46cm. wide;  6in.

An Edwardian mahogany Tantalus, circa 1910, inlaid with satinwood fan medallions and stringing, the hinged cover and fall-front revealing a mirror, three square glass decanters

and stoppers, cribbage board and drawers, with carrying handles and bearing brass presentation plaque, 35cm. wide.

A George III mahogany Cheese Coaster, circa 1790, with nag turned handles and castors, 46cm. wide;  6m.

A French kingwood parquetry Jardiniere, circa 1870, of serpentine form, with gilt-metal mounts and liner, 34cm. wide.

An Indian sandalwood and mosaic work Jeweler Box, circa 1825, with ivory stringing, with fan medallion hinged cover revealing a velvet-lined interior with tray, 30.5cm. wide;

A William IV mahogany and
brass-bound Writing Box, circa 1835,
the hinged cover revealing a lined
writing slope, a pair of inkwells, pen tray
and a pair of compartments, the Base
with a drawer, 46cm. wide;  6in.

A Victorian walnut Desk Stand,
circa 1860, the raised back with a hinged
stationery compartment, the pair of glass
inkwells flanking a pen tray, with a
drawer and turned feet, 30.5cm. wide;

A George III yew-wood Tea Caddy, circa 1790, of elongated octagonal form, with kingwood banding and stringing, restored, 15cm. wide; 6in.

A George III satinwood Tea Caddy, circa 1790, with kingwood banding and stringing, 15cm. wide; 6in.

A George III satinwood oval Tea Caddy, circa 1790, with inlaid medallion and kingwood banding, the hinged cover revealing a lidded compartment.

A Victorian mahogany and
brass-bound Writing Box, circa 1840,
the hinged cover revealing an inset, pen tray an compartments, the base with a drawer, 46cm. wide;  6in

A Victorian miniature walnut
Chest, circa 1840, with satinwood and
mosaic parquetry banding, the four
drawers with lozenge medallions, the
plinth base with turned finials, 48cm.
high by 41cm. wide;  7in. by  4in.

Louis XV Provincial oak Armoire, Charles I oak carved Livery Cupboard, Charles II-style oak Gateleg Table

An oak box-seat Settle, with a solid back above open arms and a hinged seat.

A George II oak Chest-on-Stand, circa, the moulded cornice with a ‘cushion’ frieze drawer above two short and three long graduated drawers, the base with one long drawer and a

shaped apron, on moulded square cabriole legs.

A Louis XV Provincial oak
Armoire in two parts, circa, the
dentilled cornice above a pair of fielded
panelled doors enclosing hanging space
and flanked by mitred mouldings, on
stile feet.

A Charles II oak Coffer,
the moulded hinged top above a
four-panel lozenge carved front, on stile
feet.

A George III oak Linen Press, circa, the fluted cornice above a pair of fielded panelled doors enclosing sliding trays, the lower part with two short and two long graduated

drawers, on bracket feet.

A George I oak Side Table,
the rectangular top above a frieze
drawer, on turned and square legs joined
by stretchers, splits to top.

A Charles II oak Coffer,
the twin-panel hinged top above a
frieze, bearing the date and initials
I.C.E., the triple-panel front carved with
star and rosette roundels, on stile feet,
splits to top.

A George II oak Coffer Bach,
circa, the hinged top above a triple
fielded panel front, the slightly outset
base with one long drawer, on shaped
bracket feet.

An elm and oak saddle maker’s
Stool, the solid shaped top on triple
chamfered splayed legs.

Charles I oak carved Livery
Cupboard, the lunette frieze above a
triple-panel front enclosed by a pair of
doors, the baluster turned front supports
joined by a platform stretcher with a
shaped apron and block feet.

An Italian walnut Armchair of
18th Century design, circa, carved
throughout with putti, the rectangular
upholstered back and seat with blue
velvet floral embroidery, the carved
griffon supports joined by turned ‘H’-
shaped stretchers.

A matched set of eight Charles
II oak Chairs of Derbyshire design,
circa, the twin rail backs with scroll
arcading, the solid seats with claret velvet
seat cushion, the square and turned legs
joined by stretchers, restored.

A matched set of six ash and elm
Windsor Armchairs, with pierced splats
and turned legs joined by ‘H’-shaped
stretchers.

Two similar yew-wood and elm
Windsor Armchairs, st half 18th
Century, with pierced splats and turned
legs joined by crinoline stretchers.

A William and Mary oak Side
Table, circa, the overhanging
rectangular top with a frieze drawer, the
bobbin turned legs on onion-shaped feet
joined by ‘X’-shaped stretchers.

A Charles II oak Coffer
the moulded hinged top above a
foliate lunette carved frieze with a twin
fielded panel front, on stile feet.

A Charles II-style oak Gateleg
Table, the oval top above columnar
turned and square supports
incorporating double gateleg action,
joined by square stretchers.

A matched set of eight ash and
elm ladder-back Chairs, late 17th/early
18th Century, including a pair of
armchairs, with rush seats, on turned
legs with pad and bun feet joined by
stretchers.

A chestnut and oak Farmhouse Table, late th/early 18th Century, the
rounded rectangular top above an elm frieze, with drawers at each end, on chamfered tapered square legs.

A matched set of six ash ladder-
back Chairs, late 18th/early 19th
Century, including a pair of armchairs,
with rush seats, on turned legs.

Louis XVI provincial pine Cabinet Bookcase, Italian walnut Cassone, Louis XIV carved walnut Armchair, Louis XV-style mahogany and cherrywood Bureau de Dame

A Restauration mahogany Pier
Table, circa, with a semi-circular top
above sabre legs joined by a triform
stretcher.

A pair of Italian carved and gilt-
gesso Girandoles, circa, the
cartouche-shaped foliate scroll frames formerly with candle sconces.

A French rosewood and marquetry
Games Table, circa, with brass
mouldings, the rectangular top with a
central floral spray and bellflowers at each
corner, one end with telescopic action
revealing compartments with various
games, including: roulette,
chess, dominoes and whist, the
conformingly inlaid frieze above fluted
turned legs.

An Italian walnut Cassone, circa
the hinged top above a twin-panel
front inlaid with stylised flowers
surrounded by rectangular mitred and
roundel mouldings, the panelled sides with
iron carrying handles, on canted carved
scroll feet.

A Dutch mahogany and walnut crossbanded Side Cabinet, circa,
inlaid throughout with stringing, the top
with a ‘dentil’ veneered border and one
long frieze drawer, below are a pair of
panelled cupboard doors centred by
Chinoiserie lacquer roundels flanked by
chamfered corners, on tapered square feet.

A Louis XV provincial pine
Dresser, circa, the raised back with a
moulded cornice above spindle galleried
open shelves, the base enclosed by a pair
of carved cartouche panel doors flanked
by fluted mouldings, on reduced cabriole.

A Louis XIV carved walnut Armchair, circa, with a rectangular upholstered back and seat flanked by female figure arm facings, on square and spiral twist supports joined by

conforming stretchers, restored, including later timber.

A Dutch mahogany and floral
marquetry Pier Table, circa, the
rectangular top with a frieze drawer above
a mirror panel and scroll supports, on a
serpentine platform base with turned feet.

A Louis XV-style kingwood and
parquetry Bonheur-du-Jour, modern, with
gilt-metal gallery and mounts, the raised
back with a tambour cupboard and four
short drawers, below is a slide and three
apron drawers, the square cabriole legs
ending in sabots.

A Dutch mahogany and floral
marquetry Card Table, circa, the
rectangular fold-over top above tapered
square legs.

A boulle and gilt-metal mounted
Meuble d’Appui, circa, the white
marble inset top above a panel door
enclosing shelves, the canted sides with
toupie feet.

A boulle and gilt-metal mounted
Meuble d’Appui, circa, the later
marble top above a glazed arched panel
door enclosing lined shelves, on toupie
feet.

Louis XV-style rosewood and loral marquetry Bureau a Cylindre, circa, with gilt-metal mounts, the fall revealing stationery compartments and a pull-out writing surface, the

frieze drawer above cabriole legs.

A pair of Louis XV painted Fauteuils, circa, with cartouche-shaped backs and serpentine seats, on cabriole legs, one chair stamped CD., formerly gilded.

A North Italian gilt and upholstered Armchair, circa, the
rectangular back and bowed seat covered
in later needlework, on turned and fluted
tapering legs.

A Louis XVI-style ebonised and gilt-metal mounted Table Ambulante, circa, the oval top inlaid with putti, foliate scrolls and Greek key, the frieze drawer above square supports

joined by an undertier, on cabriole legs.

A Restauration mahogany and gilt-
metal mounted pedestal Cupboard, circa
the later grey marble top above a
frieze drawer and a single door flanked by
columnar pilasters with engine-turned
mounts, on a plinth base.

A Louis XV-style mahogany and
cherrywood Bureau de Dame, th
Century, the fall centred by a musical
trophy, the shaped frieze with three small
drawers, on cabriole legs, faults.

A Louis XVI provincial pine Cabinet Bookcase, late 18th Century, the
later cornice above a pair of grille panel
doors enclosing shelves, the base enclosed
by a pair of conforming doors, restored.

Two similar Louis XVI provincial
beechwood Fauteuils, circa, with
tapered upholstered backs and bowed
seats, on fluted and stop fluted turned
tapering legs headed by paterae.

Dutch oak Chest, Italian gilt-gesso framed Wall Mirror, Louis XV Fauteuil, Italian bleached chestnut Refectory Table

A Dutch oak Chest, circa, the
serpentine top above an ogee-shaped base,
with four long drawers, on shaped bracket
feet.

A Dutch walnut and crossbanded
Commode, circa, the serpentine
front with two short and two long drawers,
on later turned feet, restored.

A Napoleon III walnut and
marquetry Centre Table, circa, of
serpentine form, with kingwood crossbanding and a frieze drawer, the square cabriole legs with gilt-metal mounts.

A French Transitional-
style kingwood quarter veneered
Escritoire, circa, with marble top,
the frieze drawer above a fall revealing a
fitted interior, below are three long
drawers, the cabriole feet ending in sabots.

An Italian gilt-gesso framed Wall
Mirror in the late 18th Century style,
circa, the rectangular bevelled plate
with chamfered margin plates and
cabochon corners surmounted by a
pierced cartouche.

A set of eight 18th Century-style
carved walnut Dining Chairs, circa,
including a pair of armchairs, with
rectangular russet velvet upholstered backs
and seats surmounted by plume finials, on
spiral twist and square legs joined by
stretchers.

An Italian bleached chestnut
Refectory Table in the 18th Century
style, the rectangular top on square and
diagonal fluted legs with block feet joined
by stretchers.

A Louis XV Fauteuil, circa,
the frame now painted white, the
cartouche-shaped back, padded arms and
bowed seat upholstered in beige brocade,
the cabriole legs joined by an ‘X’-shaped
stretcher, formerly caned—

A Florentine carved and gilt-gesso
framed Wall Mirror, circa, the later
rectangular plate within a bold foliate
scroll surround with a cartouche
surmount.

A Louis XV-style kingwood and
gilt-metal mounted Petite Commode,
circa, of serpentine form, with
quarter veneered top and two drawers, on
square cabriole legs.

An Italian painted Cradle, 18th
Century, the sides with figures and
landscapes and with scroll crestings
interspersed with spindle galleries, on
stabilised rockers, now with a fibreglass
liner, faults.

A Napoleon III kingwood and gilt-
metal mounted bow-front Vitrine, circa
the marble top with a pierced
gallery above a glazed door enclosing a
velvet-lined interior with shelves, on
cabriole legs.

An Adige cypress-wood Coffer,
18th Century, with hinged rectangular
top, the front and underside of lid carved
with landscapes and figures.

A Provencal walnut Writing Table, circa, with rectangular top, a drawer in the moulded frieze and unusual turned legs and central supports joined by bobbin turned stretchers.

A Flemish carved oak Buffet, late th/early 18th Century, the cornice and frieze carved with scrolling foliage supported on three fluted columns with Ionic capitals, the panelled

back with two mask and strapwork panels, the similar lower part also with fluted columns and four mask carved back panels, the base with two drawers carved with foliage

interrupted by lions’ masks and raised on bun feet.

A Continental scarlet and gilt
embossed hide Trunk, 18th Century, with
metal mounts and hasps, together with
carrying handles.

A pair of Louis XTV-style carved
walnut and upholstered Armchairs, circa
the rectangular backs and seats
covered in floral Aubusson tapestry, with
acanthus scroll arms, the conforming legs
with ‘X’-shaped stretchers.

An Indian embossed brass
mounted Chest, 18th Century, with
domed cover, brass carrying handles and
twin brass hasps, the later base grained to
simulate coromandel, with ogee bracket
feet.

A Napoleon III kingwood
kneehole Dressing Table, circa, with
quarter veneers, the frieze with sliding
section revealing compartments and a
mirror, the kneehole surrounded by
drawers, with an apron drawer with inset
writing slide, the sides with opposing
drawers, the square cabriole legs ending in
sabots.

A pair of Dutch marquetry and
walnut Chairs in the 18th Century style,
circa, with vase-shaped splats and
slip-in brocade seats, the cabriole legs
ending in claw and ball feet.

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.