Victorian rosewood Cabinet, George Ill-style small antique Bureau, Victorian antique Sideboard

An Edwardian antique and
inlaid small rectangular Sutherland
Table, on turned legs, 76cm.

A pair of German 17th
Century-style walnut Hall Chairs,
made-up, the backs and seats with
satinwood and bone inlay depicting
hunting scenes, the turned and square
legs joined by stretchers .

A set of four Victorian antique
balloon-back Chairs, on fluted turned
legs.

A Continental antique Work Table, mid-19th Century, the concave fronted hinged top on a carved and turned pedestal with reform scroll supports, 49cm.

A Victorian rosewood Cabinet, inlaid with satinwood stringing, the molded cornice above a beveled astragal door enclosing shelves and a mirror-back, the base with a

Wedgwood-style plaque depicting dancing maidens, below is a beveled glass door and a plinth base, 245cm. high by 90cm.; 8ft.

An Edwardian satinwood and
antique small Card Table, the
rectangular top inlaid with a sequel
border and bell flowers, on tapered
square legs, 53cm.

A Victorian maple and floral
parquetry tripod Occasional Table, the
serpentine top on a carved and turned
stem, 49cm.

An Edwardian inlaid antique
Elbow Chair, with a pierced splat circular seat, on turned legs    .

A George Ill-style small antique Bureau, the fall above seven drawers, on ogee bracket feet, 71cm.

A Continental antique Chest, mid-19th Century, with three ogee molded drawers above a straight drawer, on bun feet, 104cm., formerly part of a larger chest.

A Victorian antique Cabinet Bookcase, with a pair of ogee panel glazed doors above a pair of cupboard doors, on a plinth base, 110cm.

A Victorian walnut Side Cabinet, the later break-front top above a glazed panel door flanked by open shelves, on a plinth base, 118cm., formerly with a marble top.

A carved oak Mule Chest, late 17th Century, the hinged top revealing the inscribe date 1692, the four panel lozenge motif front with a pair of drawers below, on stile feet,

155cm.

A nest of three Regency-style antique and brass inlaid Occasional Tables, on sleder turned legs, 53cm.

A Louis XV-style carved gilt wood three-piece Suite, late 19th Century, upholstered in Genoa dragon, comprising: a Canape and a pair of Fauteuils.

A painted circular pedestal Table, early 19th Century, the tilt-top on a chamfered stem and triple-receded splayed legs eding in brass capping, 122cm.

A Continental rococo-style carved and gilt painted Console Table, 19th Century, with a serpentine white marble top, 103cm.

A Victorian antique
mirror-back Dressing Table, on fluted
turned legs joined by a platform
under tier, retaining trade label of
W. Brock & Co.,

An early Victorian antique Sideboard, with a carved raised back and convex frieze drawers above paneled doors, 168cm.

A Victorian rosewood scroll-back ‘Nursing5 Chair, upholstered in claret velvet, on cabriole legs.

An Edwardian antique and satinwood cross banded open Bookcase, with three adjustable shelves, on bracket feet, 83cm.

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.

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.