A Set of Four Venetian Etched Clear and Blue Glass Girandole Wall Mirrors

A Fine Pair of George III Style Giltwood and Composition Oval Mirrors In the Manner of Robert Adam. Each mirror having an oval plate surmounted by an urn cresting with scrolling ac...

A Pair of Italian Neoclassical Giltwood Pier Mirrors. Each mirror having a rectangular plate with husk-carved inner slip and mirrored outer borders divided by rosettes, the entrel...

A Rare and Large Pair of Florentine Cartouche-Shaped Giltwood Wall Mirrors. Each surmounted by an elaborate pierced rocaille cresting of shells and trailing flowers. The frame wais...

A Magnificent Pair of George II Style English Carved Giltwood ‘Rococo’ Wall Mirrors After A Design By Thomas Johnson. Of large proportions, each mirror having a cartouche-shaped plate within a profusely carved and pierced branch-entwined frame with stylised acanthus foliate rocaille and ‘C’-scroll decoration, architectural motifs and running dogs, surmounted by an asymmetrical pagoda form cresting with rockwork spires and a seated rustic couple holding a basket, flanked by confronted Ho-Ho birds, with a conforming asymmetrical apron of acanthus and waterwork icicles centred by a perching bird. This magnificent and ornate pair of English wall mirrors or ‘pier glasses’ are refined and reduced from a design by Thomas Johnson (1723–1799) first published in 1756 and included in his ‘Collections of Designs’ (1758), plate 4, and republished in his ‘One Hundred and Fifty New Designs" (1761) as plate 22. Pier Glasses were designed to be placed on the wall or 'pier' between windows; as well as forming part of a decorative scheme they provided an important functional use, creating a reversal of dynamic with the windows at night, reflecting and maximising the light given off by candles or oil lamps. Johnson’s asymmetrical design creates a sense of fluidity and lightness to the mirrors, employing ‘contraste’ in the placing or absence of elements, to create a stylised form, which through the dynamic tension of its constituent parts instils the mirrors with a sense of playfulness and vitality. In London throughout the 1740s and 1750s there developed a great enthusiasm for the whimsical Rococo style, and it rapidly became the height of fashion, popularised, and disseminated throughout the country and further afield by cabinetmakers’ 'Books of Prices', and 'Directories'. The second half of the 19th century saw a revival of the Rococo style in England and many designers and furniture makers turned once again to Chippendale’s ‘Director’ and designs by Matthias Lock and Thomas Johnson for inspiration, with fine examples based on modified designs or specific plates. Thomas Johnson’s designs, executed in a vigourous picturesque manner, are often inspired by the work of earlier French designers, transposing motifs taken from engraved ornament by Jean Bérain, Daniel Marot, William de la Cour, J. B. Toro and Francis Barlow...

Venetian Mirror in Murano Glass in Clear Color and Handcarved Italy 1900s This mirror is an authentic masterpiece in clear color, with incredible hand carved frames on the mirror, ha...

2 Italian Venetian (1940s style, modern) large rectangular wall mirrors with four applied, etched, Roman Neoclassic oval panels over dark blue glass with painted scroll trim and gilt...

Vintage Venetian Etched Glass Wall Mirror A Venetian wall mirror with an elaborately detailed frame, decorated with frosted and convex floral...

A fine set of Four 18' century Roman giltwood Mirrors with three candlearms, cm 95x45