Rococo Pier Mirrors and Console Mirrors

Mid 20th c., mirror stamped "Made in Italy" on the frame. This Italian Rococo Giltwood Mirror is a wonderful example of a master sculptor's work. The asymmetrical design celebrates t...

A special pair of Venetian appliqués from the Rococo period wearing original giltwood with original mirror plate. Carved wood with a 24-karat gold leaf finish. Italian, ca. 1760.

Fine pair of vintage Gilt Wood mirrors feature well-carved bow crests and extensive work to the border with well shaped frames. The gilt wood ...

A 19th century highly-carved and gilt Rococo-style pier mirror and original marble top serpentine console table.

Impressive Rococo style wall, pier, console mirror. A large and impressive over the mantle Gilt wood mirror in a spectacular rococo carved frame.

Fine Italian Rococo style composition and carved giltwood mirror, Early 20th century. The mirror is surmounted with a palmette, surrounded in a foliate motif, and fully decorated w...

A vintage French Rococo style console by VDA De Hurtado, S. A. offers silver and gold giltwood pierced frame having scroll and foliate cartouche surmounting mirror with scroll and fo...

Pair of Italian Rococo-style giltwood mirrors. Early 20th century. Each of arched form, the outer mirror plate with C-scroll and floral accents, surmounted by a tripartite rocaille- ...

A very fine and large Italian 18th century Rococo style Florentine giltwood carved mirror frame. The original two-sectional mirror plates surmount...

Antique French Rococo style arch top wall mirror with bow motif. Great as mantel mirror, fireplace mirror, pier mirror, console or Trumeau mirror...

A vintage French Rococo style console offers arch form mirror with gilt foliate crest surmounting ebonized frame having gilt acanthus elements; swell front cabinet with beveled and s...

An early George III carved giltwood mirror in the manner of Thomas Johnson, circa 1760. The period mercury mirror plate within a moulded fluted frame is flanked by cascading native flora. The carved upper C-scroll corners are pierced and surmounted by a further scroll which seamlessly flows into the pediment of C-scrolls and flora centred by a rose. Similarly, the lower of the mirror is edged with large scrolls of dripping acanthus leaves and C-scrolls all flowing to central cartouch. It should be noted that this example is in the most wonderful condition and dates from one of the most celebrated periods in English furniture history ' The Chippendale Period'. Additional reading and literature Literature: H. Hayward, Thomas Johnson and the English Rococo, London, 1964; Peter Ward-Jackson, English Furniture Designs of the Eighteenth Century, London, Victoria and Albert Museum, 1984. Mirrors of a similar form can be found at Sizergh Castle, Cumbria, North, Blickling Hall, Norfolk and Nostell Priory, West Yorkshire. Thomas Johnson (1714-1778) was a notable British carver, designer and gilder who was born in London. He fully embraced the capriciousness of the rococo style. He was a pupil of Matthias Lock who embodied the harmonious combination of naturalistic motifs and had a tendency towards asymmetry. Thomas Johnson concentrated his efforts on designs of wall lights, girandoles and console tables which allowed him to play with form and motifs. His designs were more elaborate than his contemporaries, and they were intended to promote his inventiveness rather than for more practical purposes. He first published his designs in the publication of Twelve Girandoles in 1755. His target audiences were cabinet-makers and upholsterers rather than the end-user. This publication was followed by a series of 53 designs published between 1756-1757. Three years later he published A New Book of Ornaments from which only one plate survives though others are known from 19th-century reproductions. One year later the prolific designer produced, One Hundred and Fifty New Designs. The flora is most likely to be the flowers, leaves and fruit of the fig tree. Figs were imported from France, Spain and Italy to England in the 18th century and were planted on the south walls of stately houses whose aristocratic owners appeared to be the only ones to appreciate them… the lower classes having little regard for figs and often derided them, as in the common saying ‘not worth a fig’. Interestingly, ‘Brunswick’, ‘Brown Turkey’ and ‘White Marseilles...