antique square tilt-top Tripod Table, antique and pine Chest-on-Chest, Chippedale-style carved antique Armchairs

A late George III antique square tilt-top Tripod Table, with a sleder turned stem, top detached, 58cm.

A set of four George III oak Dining Chairs, with pierced vase-shaped splats and drop-in seats, on chamfered square legs.

A late George III oak Corner Cupboard, on associated Stand, the panel door above bobbin-turned legs, 70cm.

An Art Deco mirror glass Dressing Table, with etched decoration, the pair of frieze drawers above chamfered column supports, cm.

A George II later painted
bow-front hanging Corner Cupboard,
enclosed by a pair of doors, 61cm.

An American beech wood Music Seat, late 19th Century, with a spindle-back and revolving seat, on turned legs eding in metal talon and glass ball feet.

A George Ill-style antique serpentine-front Serving Table by Gill Sc Reigate, with a freize drawer, on carved tapered square legs and spade feet, 137cm.

A William and Mary-style walnut and pink dragon upholstered three-piece Drawing Room Suite, each piece on turned legs with scroll feet joined by ‘X’-shaped stretchers,

comprising: a twin-seat Sofa and a pair of Armchairs .

A George Ill-style antique and buttoned green dragon upholstered Armchair, on molded square legs.

A George III antique and pine Chest-on-Chest, the upper part with two short and three long drawers flanked by fluted corners, the base with three long drawers, on shaped bracket

feet, restored, 103cm.

A pair of Chippedale-style carved antique Armchairs, with lancet pierced splats and drop-in needlework seats, on chamfered square legs

A George Ill-style antique and
green damask upholstered Wing
Armchair, on molded square legs.

A late Victorian walnut glazed hanging Corner Display Cabinet, with pierced fret carving an a single beveled glass astragal door, 40cm.

A William IV carved and gilt painted circular convex Girandole, with an eagle cresting, candle arms later, 45cm.

An Irish ebonized and parcel-gilt oval Wall Mirror, the molded frame set with simulated gemstones, 52cm.

A Victorian figured walnut Wardrobe, the triple arched panel doors centered by a full-length mirror, 190cm.

A Victorian ebonized and gilt-metal mounted mirror-back Side Cabinet, the base with projecting Corinthian columns dividing a cupboard door and a pair of glazed panel doors,

181cm.

A George Ill-style antique and chevron inlaid Bookcase on Stand,
enclosed by a pair of astragal doors
above two dummy and one real frieze
drawer, on tapered square legs eding in
spade feet, 92cm.

An ebonized upright Piano by
C. Buckstein, the
paneled front with candle sconces,
149cm.

A Victorian black lacquer
papier-mache and gilt painted salon
Chair, the scroll over back centered by an
oval solid splat decorated with
motifs and mother-of-pearl
inlay, the un upholstered seat aperture
above cabriole legs.

A late George III antique rectangular Pembroke Table, with a drawer, on tapered square legs, restored.

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.

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.

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.

MIRRORS  wall and pier, including girandoles

The Victorians were rather fond of somewhat florid mirrors and over-mantels, mostly made by building up gesso or plaster on a wood frame and subsequently gilding the surface. Some carved wood mirrors were made as well and these are, obviously, the most expensive type. Overmantels of the very large type are now difficult to place and require large walls with high ceilings, but the oval and circular wall mirrors, or girandoles, are being re-appreciated now that it is possible to touch up the faded or discoloured gilding with one of the many proprietary types of gold waxes and paints available for the purpose.
‘Girandoles’ from Shoolbred’s catalogue of 1876. The decoration is made of plaster, subsequently treated with gesso and gilded. Until comparatively recently these ornate pieces were considered somewhat vulgar but prices have been mounting steadily in the last few years.
A small Victorian gilt circular mirror or girandole of a type illustrated by Shoolbred and other furnishers in catalogues of the 1870s and 1880s. Based on rococo designs and ‘naturalistic’ motifs. Made of plaster on a
wooden frame and about two feet (60 cm) in diameter.
An oval gilt mirror of the gesso and plaster type with 18th century rococo styling. Mirrors of this type appear to have been popular in the later 19th century, when many reproductions of 18th century types were featured
in furnishers’ catalogues
A really ornate rococo mirror with great depth to the frame which is surmounted by a cherub figure of Cupid, holding a bow. The depth is remarkable and the shape of the oval mirror is elegant. 1900-1920
A carved rococo mirror, with scroll and leaf forms, which is again an imitation of an eighteenth century style.
Early 20th century
A rococo oval wall mirror in emulation of mid-18th century carved mirrors incorporating similar birds and decoration. Made of giltwood and plaster. Very decorative and of good quality. 1900-1925
An oval gilded mirror of ‘Empire’ design with seated griffins on either side of a classical urn with Olympic torch as a decorative cresting. The solid frame to the bevelled mirror has gilded edges and gilded classical motifs on a painted background.
A carved oval mahogany mirror frame with bevelled-edge mirror. The scrolled carving is slightly coarse and the shape a little too elongated for elegance. It is a Victorian or Edwardian oval, not an 18th century one.
A straightforward ‘picture frame’ mirror in which a mirror has been fitted into a moulded gesso picture frame with a gilded finish. It is now very popular to fit mirrors into pine frames, obtained by stripping the gesso off
frames such as this.
A reproduction of a Georgian mahogany wall mirror with carved gilded cresting rail with a gilded bird. A good imitation of an 18th century piece.
Early 20th century
Walnut wall mirrors, of early 18th century design, from a manufacturer’s catalogue of the 1920s. They have bevelled plate mirrors but not the gilded inner moulding to the frame which is an adjunct to value. 1910-1930
Reproductions of early 18th and late 17th century wall mirrors. The left-hand two mirrors are walnut-framed versions of simple Queen Anne styles, whilst the two on the right, with their deep ‘cushion’ moulded surfaces around the mirror and shaped cresting boards, are more sophisticated reproductions of walnut-veneered and moulded ‘cushion’ mirrors of the 1680-1720 period.
Early 20th century
MIRRORS  cheval
A satinwood cheval glass in the highest ‘Edwardian Sheraton’ manner, with its accompanying dressing table and (separate) dressing mirrors. The decoration is painted and gilded with classical motifs in the French
Empire manner, and the whole effect is one of great elegance.
A walnut `cheval’ mirror in the ‘Queen Anne’ style. Actually cheval mirrors date back to the start of the 18th century, but to find an original one like this would be a very rare event. Mirrors of this type can be safely
recognised as reproductions. 1910-1930
MIRRORS  dressing
A circular dressing mirror on a segmented pumpkin-style base. Similar designs occur in Smee’s catalogue of 1850 and as far back as King’s of 1830. 1840-1865
A typical mahogany dressing mirror of a design made from 1845 until the 1880s. The scrolled supports and rather heavy flat base with semi-circular plinths at each end are characteristic. 1850-1890
Three typical early 19th century designs of dressing mirrors made in the early 20th century. The central mirror is a shield-shaped ‘Hepplewhite’ design which has been much reproduced; it has three small drawers in the serpentine-fronted base. 1910-1930
Central mirror
Three more reproduction mirrors, copying early 19th century designs, of a very popular type.

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.