Palm Mirror in the manner of John Linnell

This oval carved and giltwood frame mirror, in the George III style of the late 18th century, is enriched by the acanthus leaf cresting supporting a tapered and fluted bracket, heade...

A fine naturalistically carved oval mirror with bird, branch and stylized animal decoration in the manner of Thomas Johnson. An exceptionally fin...

A George I style carved giltwood and gesso looking glass mirror. The rectangular mirror plate is in a leaf and shell carved moulded frame beneath a shaped cresting centered by a pier...

The carved giltwood crossed boughs of branches that form the frame of this looking glass are decorated with oak leaves and acorns which are held at the ...

A fantastic and extremely rare pair of George III period gilt Carton-Pierre and giltwood oval mirrors in the manner of John Linnell. Each mirror is gorgeously hand carved with meticulous detail and fine craftsmanship. The giltwood borders are designed with foliate crests above female masks, with aprons centered by a standing or recumbent left facing lamb. It is extremely rare to find a pair of mirrors of this date and in such amazing untouched condition, the mirror panels are most probably original and date to the late 1700s. Provenance: Jeremy, Ltd., London England, circa 1770 Carton-pierre, literal translation from the French - cardboard stone, was developed in the 18th century specifically to imitate wood and stone. The Formula typically included flour, chalk, sawdust, sand and plaster and bound with wax, resin, animal glues or gum arabic. The material could be moulded, bent and otherwise formed into the desired design. Preeminent makers like Gillows and John Linnell began using carton pierre in the late 1760s. The new material allowed for lacey decorative spandrels and festoons that could be made into nearly any length or shape required. These elements and the particular foliate umbrella canopy on this pair of mirrors relates to designs of William and John Linnell. The most famous example of this crest element is on the mirror supplied by Linnell to the 4th Duke of Beaufort for the State Bedroom at Badminton House...

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...

A very fine early George III giltwood wall mirror in the manner of John Linnell (1729–96). The oval mercury mirror plate is framed by an exquisitely carved frame of foliate design, s...

Baroque-style Northern Italian Hand-Carved Mirror