Pair of George III Style Giltwood and Composition Mirrors

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...

A Pair of Louis XVI Style Carved Giltwood Mirrors. Each mirror with an arched mirror plate and corresponding frame carved with still leaf decoration and an arched pediment centred ...

A very fine Louis XVI style carved giltwood and composition marginal mirror. French, circa 1890. This fine mirror has a gadrooned, beaded and e...

A very large and finely carved George II style giltwood mirror. This large and impressive carved giltwood and gesso mirror is over 267 cm (105 inches) high. It is finely carve...

In the manner of Thomas Chippendale (1718-1779) An exceptional pair of George III style giltwood mirrors, the mirror plate within ...

A pair of carved giltwood George III mirrors of Adam design with leaf carved outer frame and bead carved inner frame, the surrounding border glasses are punctuated by oval flower-hea...

Within a foliate-carved frame surmounted by a foliate clasp. Mounted with hanging wire on back.

In the style of Robert Adam. Urn form finial with leaf tip swags and scrolls over an oval beveled mirror and a pair of candle arms flanked by leaves and seed pods terminating on urns...