18th Century Green and White Waterford Glass Oval Mirror

This early 18th century Irish George I wall mirror is topped by a broken pediment with a shell and acanthus leaf cartouche. The shaped apron is adorned...

This Irish George III mirrors consists of an oval mirror plate surrounded by alternating blue and clear faceted cut glass gems (with applied gilding), set into a metal frame. County ...

Pair of Late 19th Century English Adam Style Gilt Oval Mirrors

The alternating blue and amber faceted glass gems set into a metal oval frame.

Pair of 18th Century English Oval Gilt Mirrors.

This George II mahogany and parcel gilt mirror is topped by a swan's neck pediment which is centered by a gilt ho-ho bird. The sides are ornamented with gilt fruiting vinery, flankin...

This elegant Adam mirror has a classical oval patera mirror border encompassing the looking glass. The crest has a central Adam urn with a burning flame fl...

This is a beautiful hand carved, gessoed and gilded George II mirror. Dating from the mid eighteenth century. This incredibly large mirror is stunning and actually downright imposing...

18th century Irish Waterford mirror, the period plate of oval form set within frame of alternating faceted blue and clear glass studs.

Very charming German 18th century period Rococo mirror. Beautifully carved with c-scrolls and flower buds, white and polychrome painted. Antique mirror plate and orginal back.

A George III Giltwood Pier Mirror In the Manner of Thomas Johnson An exceptionally detailed design; the superb carved decoration housing a shaped rectangular plate and undulating mirrored borders; the inner frame closely tied to the outer frame and leading the eye around the mirror. The grandiose masterful carving incorporating C-scrolls, flowering branchwork, stylized icicles, acanthus leaves, and distinctive architectural follies and figures which firmly place this mirror within the canon of Johnson's greatest designs. The confident execution is a great testament to the technical prowess and artistic creativity of one of the greatest carvers and designers of the eighteenth century, circa 1760. Provenance Edward Cecil Guinness, 1st Earl of Iveagh, Farmleigh, Co. Dublin, (1880?-1927); The Earls of Iveagh, Farmleigh, Co. Dublin & Elveden Hall, Suffolk (1927-2018). Thomas Johnson (1723-1799) Thomas Johnson was one of the most skilled carvers and furniture designers in Georgian England. Drawing inspiration from the Fables of Aesop, the rococo, China, and the idealised rustic life, his work is whimsical, exuberant and witty. Chippendale borrowed freely from his work. Johnson was a founder member of the 'Antigallican Society', a group who excoriated the French taste. In addition to its relation to Johnson's designs, this mirror also reflects the influence of Lock, the great master with whom he worked for a period. Lock published many sketches and pattern books, including A New Book of Ornaments for Looking Glasses in 1752, introducing several idiosyncratic features which Johnson would adopt such as the small decorative urns...

An Italian, Piedmontian, carved and gilt looking glass with hippocampus, bellflowers, reeds, capitals and flaming torches.