George III antique Pot Cupboard, Victorian walnut and inlaid bow-front Whatnot, Edwardian antique and satinwood-banded Display Cabinet

A George III antique Chest of two short and three long drawers, on splayed bracket feet, 105cm.

A Regency antique small Chest of three long drawers, on bracket feet, restored, 90cm.

A George III antique Chest of two short and three long drawers, on bracket feet.

A late George III antique kneehole Side Table, with three drawers, on tapered square legs.

A late George III antique and
inlaid swing- frame Dressing Table
Mirror, with three drawers, 47cm.;
three other small antique swing-frame
Toilet Mirrors and one larger, 19th
Century and later, distressed, 50cm.

A George Ill-style antique and
cross banded bow-front Side Table, with
three drawers surrounding a kneehole,
on tapered square legs eding in spade
feet, 110cm.

An Edwardian antique and satinwood-banded Display Cabinet, with a pair of geometric astragal doors above a pair of panel doors, on tapered square legs, 87cm.

A set of five late George III antique rail-back Chairs, with receded frames and stuffed seats, on fluted turned legs.

A Victorian walnut and gilt-metal mounted Coal Pudedum, with trefoil-shaped sides flanking a fluted loop handle, 31cm.; together with a brass coal scoop.

A George III antique drop-leaf Table, the rounded rectangular top on tapered legs eding in pad feet, altered and restored, 154cm.

A late George III antique Pot Cupboard, on tapered square Tags, distressed, 36cm.

An ash and elm Windsor wheel-back Armchair, early 19th Century, on sleder turned legs; together with a similar standard Windsor Chair.

A William IV antique rectangular tilt-top Occasional Table,
with a reform base, 51cm.; together with a Victorian antique tilt-top tripod Table, 50cm.

A antique and walnut tripod
Trochee, with a receded stem, 139cm.
high; together with a late George III
painted beech wood rail-back Armchair
with a cane seat, on turned legs.

A Victorian walnut miniature
Wellington Collector’s Chest, with seven
drawers, on a plinth base, 43cm.

A George III oak hanging Corner Cupboard, with a panel door enclosing a shaped shelf, 67cm.

A George Ill-style antique and string-inlaid serpentine-front Side Table, with three drawers, on tapered square legs, 65cm.     -

A William IV antique and
rosewood cross banded octagonal
drum-top Occasional Table, with a small
drawer, on a chamfered pillar with a
shaped platform base, 49cm.

An early Victorian antique scroll-ed Chaise Lounge, upholstered in pink striped brocade, on octagonal tapered legs, 175cm. long         -

A Victorian walnut and inlaid bow-front Whatnot, the four-tiers banded with Tune and with turned beech wood supports, 125cm. high.

A Regency antique combined
Writing and Dressing Table, inlaid with
ebonized stringing, the square top above
a frieze drawer fitted with pen
compartments and an adjustable mirror,
on partially receded turned legs, 48cm.

George II oak and burr wood banded Chest-on-Stand, Dutch mahogany and satinwood oval Centre Table, Wing Armchair

An Edwardian ‘Regency-style’ Berger Chair, the rectangular caned back with two loose cushions, on turned tapering legs with castors.

A French carved walnut Buffet in the
18th Century style, 20th Century, the raised
back with cupboards, the breakfront base with
three frieze drawers above four doors with
fielded cartouche panels, on scroll feet, 148cm.
high by 206cm.

A George II oak and burr wood banded Chest-on-Stand, circa 1730, with a molded cornice and fielded panel sides, the upper part with two short and three long graduated drawers,

the base with three short drawers, a shaped apron and cabriole legs on pad feet, 152cm. high by 120cm.

A William and Mary Chest-on-Stand, circa 1690, the molded cornice above two short and three long graduated drawers, the base with three short drawers above a shaped apron, on

later baluster turned legs joined by waved stretchers, restored, 155cm. high by 97cm.

A Charles II oak oval Gate leg Table, circa 1680, the square and baluster turned legs joined by stretchers, 100 by 125cm.

An oak Dresser, 18th Century, the
associated open shelf back above a later
molded top with three frieze drawers and a
shaped apron, on chamfered square legs joined
by a platform under tier, 212cm. high by 155cm.

An American painted pine semi-circular Table, circa 1800, on turned pillar and tripod base, 103cm.

A Dutch mahogany and floral parquetry Mirror, 19th Century, of rectangular form, 61cm. high by 51cm.

A Victorian mahogany rectangular adjustable Reading Table, on a chamfered pillar and platform base, 90cm.

A Victorian simulated bamboo Side Table, the rectangular top inset with blue leather above a frieze drawer, on turned legs.

A Dutch mahogany and satinwood oval Centre Table, 18th Century, with inlay and chevron stringing, on tapered square legs, restored, 104cm.

A George III mahogany skeleton frame Dressing Table Mirror, circa 1790, with an oval swiveling plate, 84cm. high by 66cm.

A Victorian walnut circular Breakfast
Table, on carved columnar support and
reform base with turned feet, 132cm.

A George Ill-style mahogany Armchair,
with a pierced ladder back above swept arms and a stuffed seat, on tapered square legs.

A Victorian rosewood and inlaid
octagonal Centre Table, on turned supports
joined by an under tier, one castor missing, 74cm.

An Edwardian rosewood and inlaid envelope Card Table, on tapered square legs joined by shaped stretchers, with an urn finial, 57cm.

A Continental rosewood Settee, the padded back, arms and seat upholstered in patterned fabric, on cabriole legs, 165cm.

A George Ill-style mahogany small Tea Table, the semi-circular fold-over top above a frieze compartment, on turned tapering legs with pad feet, 45cm.

An Edwardian mahogany Bureau Bookcase, inlaid with stringing, the pair of astragal doors enclosing shelves above the angled fall and four long graduated drawers, on bracket

feet, 203cm. high by 95cm.

A reproduction mahogany and brass-bound Military Chest, in two parts, fitted with two short and three long drawers, on bracket feet, 95cm.

A George Ill-style mahogany Wing Armchair, upholstered in plum-colored velvet, on square legs.

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.

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.

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.

Italian walnut and rosewood marquetry Games Table, Louis XV carved giltwood Wall Mirror, French carved walnut Buffet, French chenywood Farmhouse Table

A pair of Louis XV-style tulipwood
Tables Ambulantes, 18th Century, each
with brass galleried individual marble tops
above quarter veneered and banded
friezes including lateral drawers, on
cabriole legs.

An Italian walnut and rosewood
marquetry Games Table, circa, the
quarter veneered detachable top with central roundel within multiple sanded bandings and floral spandrels, on moulded tapered square legs. high by. wide;  by ft. Van.     ,

A Louis XVI-style parquetry and
marquetry Bed, 18th Century, with gilt
metal mounts, the headboard with a
cabochon cresting supported by reclining
female figures above a musical trophy
reserved on an oval foliate scroll inlaid
panel flanked by urn finials, the tailboard
with a foliate scroll inlaid frieze flanked by
urn finials.

An Iberian rosewood and bone
inlaid Cabinet, mid-18th Century, on later
stand, the exterior with brickwork pattern
stringing, the front centred by an
architectural niche with tortoiseshell
veneered drawer and columns flanked by
an arrangement of eight panelled drawers
with ripple mouldings, the stand with
tapered square legs joined by stretchers,
on ball feet.

A Louis XV carved giltwood Wall
Mirror, circa, the pierced cresting
with central cartouche flanked by scrolls
and flowers, the later plate within a reeded
shaped surround.

A Dutch floral marquetry Display
Cabinet, 18th Century, the serpentine
moulded cornice with a central carved
cartouche cresting above a pair of astragal
doors enclosing shelves flanked by canted
glazed sides, the base with three long
graduated drawers and a shaped apron,
on carved hairy claw and ball feet.

A 18th Century-style Spanish
walnut and simulated ivory inlaid Centre
Table, with tortoiseshell veneered
arabesques with geometric
ebonised borders, the bobbin turned and
square legs joined by stretchers with iron
braces.

A Louis Phillipe carved mahogany
Canape, circa, upholstered in nailed
hide, the serpentine back with a foliate
scroll and shell cresting, the griffon arm
facings above cornucopiae feet flanking a
reeded seat rail.

A Louis XV-style rosewood
parquetry and beechwood
Table Ambulante, circa, with gilt-
metal mounts, the quatrefoil-shaped top
with floral inlay, on cabriole legs joined by
an undertier.

A French Empire-style plum mottled mahogany Cylinder Bureau, modern, with gilt-metal mounts, the interior with three drawers and an inset slide, below are three apron drawers

and tapered square legs.

A French carved walnut Buffet in the 18th Century style, 18th Century, the
raised back with cupboards, the breakfront
base with three frieze drawers above four
doors with fielded cartouche panels, on
scroll feet.

A French kingwood and inlaid
Meuble d’Appui, circa, with marble
top and gilt-metal mounts, the panelled
door with floral vase, the concave side with
trellis parquetry, on tapered square feet.

An Italian specimen marble inlaid Table Top, early 18th Century, with a central micro mosaic of the Capitaline Doves, with micro mosaic oval medallions of various Roman ruins,

the border with a whorl of exotic marbles, the associated Victorian rosewood base with turned stem and triple scroll feet.

A Louis XVI-style mahogany and gilt-metal mounted Card Table, circa, the rounded rectangular fold-over top above a frieze of Bacchanalian masks and goats flanked by foliate

scrolls, on fluted turned tapering legs.

A French chenywood Farmhouse
Table, early 18th Century, the cleated
four-plank top with a frieze drawer on
each end, on tapered square legs.

A Dutch mahogany and floral
marquetry Side Cabinet, circa, the
projecting frieze with a drawer above a
pair of panelled cupboard doors, the sides
with free-standing gilt-metal mounted
columns on square pillar bases.

A Louis XV-style kingwood and
mahogany parquetry Table a Rognon,
circa, with gilt-metal mounts
throughout, the galleried top with a
sprung frieze drawer, the fluted square
supports joined by an undertier, on
cabriole legs.

A Louis XV-style carved walnut
Fauteuil, late 18th Century, the shell
cresting above a nailed upholstered seat
and back, on cabriole legs.

A Louis XVI-style mahogany and gilt-metal mounted Lady’s Writing Desk, circa, the raised tambour top opening in conjunction with the frieze drawer to reveal stationery

compartments, the fold-over writing surface with a painted panel of a lady and gallant, on fluted turned legs.

A Napoleon III tulipwood and rosewood parquetry Jardiniere Table, circa, with gilt-metal mounts and Sevres-style plaques, the rectangular top with a detachable inset panel, the

shaped frieze above cabriole legs.

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.