Collection of Antique Mirrors - Nicholas Wells Antiques by nick wells

A COLLECTION OF ENGLISH AND CONTINENTAL 18TH AND 19TH CENTURY ANTIQUE MIRRORS 1

A COLLECTION OF ENGLISH AND CONTINENTAL 18TH AND 19TH CENTURY ANTIQUE MIRRORS It is remarkable that a catalogue of antique mirrors can be compiled with such astonishing exemplary examples of the finest mirrors ever made. And all from our current collection. The mirrors collated here reveal the very pinnicle of 18th and 19th century craftsmanship. Their exceptional beauty and highly accomplished craftsmanship, are documents of a time gone by. Their detailed and expressive carving as well as intricate emblems and patterning are the result of the precision and refinement demanded by the elite clientele of their day, and achieved by designers and craftsmen who aspired to supply the very best. Eye-catching designs that reference the ideals of the day, incorporating the evolving fashions and tastes for the exotic, nature and the picturesque warrant their importance in interior design schemes. Positioned as focal points within interiors, they offer surprise and delight that is rewarded through close inspection. Small details with references to fountains with running water, rockeries, shellwork and naturalistic forms relate directly to the ethos of 18th century garden designers such as, William Kent and Capability Brown who ‘managed’ and celebrated nature and its forms. Such iconic mirrors hold their own in historic architectural spaces, and as complementary pieces when arranged with contemporary art and antique collections as well. Through the centuries, Interior decorators frequently chose mirrors for extending space and light, and as focal points for curated vignettes, and placement might include entryways, above or on mantels, as windows that anchor interest points for seating areas, and to enhance the splendor of prestigious drawing rooms, dining rooms and the intimacy of private chambers. We trust that you will find our collection of grand antique mirrors are as suitable today as they were in their heyday. All of our mirrors are carefully sourced and masterfully restored for such important interior projects and include pier mirrors, overmantle mirrors, convex mirrors, oval mirrors, table mirrors by the greatest makers of the 18th and 19th centuries. We very much look forward to discussing these further with you and helping you embellish and enhance the enjoyment of your interior schemes.

GEORGE III GILTWOOD OVAL MIRROR A wonderful example of rococo inspired design, the finely carved frame is outlined by an exuberant upward swirl of crossed scrolling acanthus boughs, extending up and crossing to form a delightful asymmetric spiral and curve of finely carved leaves and curling foliage, the whole enhanced by a typically whimsical offset design incorporating more naturalistic motifs: a seed head, bell flower and cherry, the frame further ornamented and accentuated by the even and balanced placing of six-petalled flower heads, a well carved ribbon tie accentuating the crossed acanthus boughs beneath.

John Linnell (1729-1796) was the son of the famous furniture maker William Linnell (ca. 1703-1763). Unlike most furniture makers, John Linnell gained a design education at the St. Martin’s Lane Academy, which was founded by William Hogarth in 1735. In 1750, aged 21, he joined his father’s firm as a designer. On his father’s death in 1763, John Linnell took over the family firm. During his lifetime John Linnell produced high quality furniture, which rivalled that of other leading furniture makers such as Thomas Chippendale, John Cobb and William Ince and John Mayhew.

The scrolling acanthus leaf, the key design of this outstanding mirror is seen to very similar effect in a drawing by John Linnell (17291796), from a volume of Linnell designs for furniture, interior decoration, and architectural fittings held at the V & A , Department of Engraving, Illustration and Design, E.312-1929. Linnell produced a number of designs for oval shaped pier-glasses. Original mirror plate. The whole highlighted by an exceptional gilded and richly burnished finish. England, circa 1765 Height 123 cm ( 48 1/2 in) Width 68.5 cm (27 in)

John Linnell, Pier glass over a commode, 1760-5, p115 (V&A E. 275 1929) See also John Linnell, V II, p84 (V&A E. 212 1929)

MAGNIFICENT PAIR OF BORDER GLASS MIRRORS Magnificent near pair of large oval water gilt mirrors, the frames with associated Waterford mirrored clear, and white and gilt cabochon ‘jewels’. Retaining their original antique mirror plates. England, 19th / 20th century Height 136.5 cm (54 in) Width 111 cm (44 in) Depth 4.5 cm (1 3/4 in) The original Waterford Glasshouse founded in 1783 produced a style of mirror with jewelled borders of alternating coloured and foil backed glass cabochons. With a copper belt that wrapped around the frame securely. The pattern has proven immensely popular and highly coveted. Our mirrors are a variation on this original design and significantly more refined in their execution. The cabochons used on our pair are clear with foil backs in conjunction with a rare white and carved gilt cabochon that is only seen on early examples. Furthermore, the fitting the cabochons are set in, is exceptional lead-work precisely holding each cabochon in place, evenly spaced and at the perfect angle. This lead channel is secured snuggly within gessoed and water gilt frames, thus providing a finish that surpasses any other mirror of its type, not only in scale but also in quality of finish.

OVAL BLUE AND CLEAR BORDER GLASS MIRROR

GEORGE III GILTWOOD PIER MIRROR

A magnificent 19th Century oval mirror of large scale with giltwood border inset with foil backed clear and blue glass cabochons – the cut glass decoration in the style of the renowned Waterford glasshouse. Contemporary mirror plate England, 19th / 20th century

A fine richly carved pier mirror with carved giltwood mirror frame acanthus canopy above giltwood trellisery C scrolls and pierced rocaille borders.

Height 137cm (54 in) Width 110.5 cm (43.5 in)

England, circa 1760 Height 127 cm (50 in) Width 56.5 cm (22 1/4 in) Depth 8 cm (3 in)

MONUMENTAL OVER SCALE REGENCY CONVEX GILTWOOD MIRROR A fabulous and over-scaled giltwood convex mirror. The substantial frame carved with overlapping laurel leaves and berries, supporting to boldly carved acanthus candelabra with cut glass drip pans and gilt bronze nozzles. Later convex mirror plate. England 1820 Width 137.5cm (54 in) Height 109 cm (43.5in) Depth 33cm (13 in)

THE CREST OF A REGENCY CONVEX MIRROR A rare and wonderful fragment from a large Regency parcel gilt convex mirror having two boldly carved monopodial winged lions supporting the upper crest of Regency feathers surmounted by a circlet of bound laurel leaves. England, circa 1810 Careful conservation has ensured that the original gilded surface of this carved wood and parcel gilt fragment has been retained. The fragment being the remaining section of an extremely large convex mirror - a piece representative of all the elegance, refinement and extravagance of the Regency period.

PAIR OF GEORGE III GILTWOOD OVAL MIRRORS IN THE MANNER OF ROBERT ADAM England, late 18th century Height 109 cm (43 in) Width 53.5 cm (21in)

An elegant pair of late 18th century George III neo-classical oval wall mirrors, each with opposing eagles above trailing harebells issuing from scrolled wirework, the eagles with their wings spread, and holding chains with gilt tassels, the base of the mirrors with palm leaves tied with a bow.

Comparitive oval design with suspended husks, a plinth at the apex scrolling leaves at the base see John Linnell, V II ‘p.100 ‘Mr Baring’ 1773 V&A E 3496 1911

AN IRISH REGENCY GILTWOOD AND EBONISED FOUR-LIGHT GIRANDOLE, SIGNED AND DATED VERSO ARTHUR WILLIAMS An Irish Regency giltwood and ebonised four-light girandole, signed and dated verso Arthur Williams, July 10th, 1819, Williams is a craftsman known to have worked for Richard Jackson of Dublin, circular convex plate in a plain ebonised slip with moulded and rope bound frame above a scrolled and tied triadic foliate apron, echoed in the tied foliate scrolls of the cresting and the elegant tied foliate scrolls supporting the plinth above, pendant acorns to either side, the whole crested by a fine eagle with outspread wings, his talons clasping a rocky base and having the six tasselled and beaded chains gathered into his powerful beak. Graceful foliate scrolls terminate in lion mask finials to either side with a further pair of lion masks on squared backs topped by scrolled flaming torches with tied oak leaves beneath, each lion mask holding a beaded and tasselled chain, then below a pair of elegant scrolling double gilt bronze candle arms supporting gilt bronze candle cups having cut glass bobeches with surrounding pendant prisms. The girandole has some restorations and re-gilding. The glass has been replaced but we retain the original. The backboard carries an inscription in pencil, Arthur Williams, July 12 1815/19 Height 158 cm (62 in) Width 117 cm (46 in) Depth 35 cm (13 3/4 in)

Richard Jackson (fl.1786-1827) owned the Looking Glass Warehouse on Essex Bridge, Dublin. The Jacksons were a family of carvers, gilders and looking glass manufacturers established by Thomas Jackson at no.5 Essex Bridge sometime in the 1740s, Jackson supplied significant glass and girandoles to the Earl of Aldborough, c.1793-98, for his magnificent Dublin townhouse, including: a large Chemney Glass w’th Ornam’t & arms for 4 Candles, £18 10s’ (The Knight of Glin & James Peill Irish Furniture Yale 2007 p.168)

Arthur Williams Signature discovered verso

The signature of Arthur Williams appears on at least one girandole carrying the Jackson label. It is thought most likely he was a member of the family that later became Mack, Williams and Gibton. A pair of convex girandoles with the Jackson of Dublin label, accompanied by an inscription on the reverse, ‘Arthur Williams Sept 29 1807’, was sold anonymously at Christie’s in 1997 (Important English Furniture 13 November, lot 124). The girandole has provenance to Prehen House, Co. Derry, a Listed Grade A mansion, built in 1740 for Colonel Andrew Knox (170974), MP for Co. Donegal, and described as perhaps the finest early Georgian country house in Northern Ireland. The Knox family lost ownership of Prehen House in 1914 and by the early 1970s the house was on the verge of dereliction. It was saved by the intervention of Julián Peck, son of Winifred Knox, and his Americanborn wife Carola: the couple responsible for the fine restoration

of Rathbeale Hall (c.1734-51), Co. Dublin. Carola Peck, a dedicated member of the Irish Georgian Society with a comprehensive knowledge of early 18th Century interiors and furnishings, determinedly sought out the best and most apposite pieces for such an important house as Prehen. Throughout the 18th and into the 19th Century, increasing trade and economic development together with an element of political independence, brought considerable wealth to the landed aristocracy and merchant classes of Ireland. The Irish craftsmen of the late 18th and early 19th Century, were clever and talented, always aware of the prevailing taste of the time they brought their own observations, style, exuberance and charm to the decorative arts. The decoration of this girandole is relatively restrained but each symbol displays the craftsman’s knowledge of the significance of classical motifs: In Greek mythology the flaming torch is a symbol of life and light, derived from Aurora, goddess of the dawn; the oak is sacred to the Roman god of the sky, Jupiter, but is also important to the ancient Druids and Celtic myth; the lion, king of beasts, has strength and power – to be interpreted as the pinnacle of aristocratic attributes; the eagle is a timeless symbol of triumph and victory; and abundant foliage heralds the promise of spring, abundance and new growth. The owners of such fine houses like Prehen supported an extensive luxury trade in Dublin – huge numbers of cabinet-makers, upholders, carvers, gilders and glass grinders flourished at this time. And looking glasses were probably one of the most expensive status symbols that could be bought – a certain sign of the wealth and status of the house owner.

A CONTINENTAL MID 18TH ROCOCO PAINTED MIRROR A Continental polychrome painted rococo pier mirror. Lavishly carved with scrolls and floral groups. Throughout the carving is of an exceptional nature. The beveled mirror plate is of fine quality but not original. Potsdam, circa 1755 Height 142 cm (56 In) Width 66cm (26 in) Provenance: Carlton Hobbs

Franz Xaver Habermann, ‘Rococo Designs’ Remarkably similar to the current pier mirror.

GEORGE III CHINOISERIE MIRROR A fine mid 18th century giltwood mirror surmounted with a Chinoiserie pagoda hung with bells with mirrored back and waterfall detail, the cascading water detailed throughout the mirror frame and intersperced with gilt oak branches, C scrolls, rocks and foliage. England, circa 1770 Height 143 cm (56 in) Width 70 cm (27 1/2 in) Depth 15 cm (6 in)

For designs incorporating loose naturalistic branches and foliage see John Linnell (V&A E. 202 1929)

PAIR OF PALATIAL PIER MIRRORS A very large pair of 19th century Louis XV style split glass gilt pier mirrors. France, circa 1870 Height 300cm (118 in) Width at bottom 122cm (48 in) Width at top 130cm (51 in) 20

Palatial pier mirrors were used in Parisian interior schemes as windows in the ‘Hotels’ of the mid 18th century aristocrats, who took to building elegant town houses such as the Hotel Soubise. Their use continued into the 19th century where their collosal mirror plates continued to reflect light filling the room with greater

illumination by day and amplifying candle light by night.

GEORGE III CHINESE CHIPPENDALE ROCOCO GILTWOOD GIRANDOLE MIRROR A masterpiece of design and execution, this beautiful girandole exhibits every opulent detail of the Chinese Chippendale period. Elaborate C and S scrolls, icicles, rockeries, a seated Chinaman and completed with elaborate candle arms. England, circa 1760 Height 95cm (37 1/2 in) Width 40.5cm (16 in) Depth 15 cm (6 in)

From the first half of the 18th Century, designs in furniture and interiors became much more varied and elaborate, celebrating the inspiration of rococo style with a lighter touch that incorporated swirling lines, natural motifs, and elegant flourishes. Mirrors were an important element in this evolution of ideas. It was now considered traditional to place a large mirror over a fireplace, known as an overmantel; and pier glasses, oval or rectangular, were used to hang between windows, being highly prized for their decorative qualities and their ability to reflect the light of strategically placed candelabra – giving depth and brilliance to any interior. The word Rococo derives from the French rocaille, originally referring to decorative garden ornamentation like the shellwork or pebble inlay found most typically in the grottoes and fountains of grand gardens. Gradually the rococo evolved into charming, somewhat whimsical designs using motifs derived directly from nature, employing a lightness of touch and a deliberate lack of uniformity at times but consistently delighting in the aesthetics of natural elements.

Thomas Chippendale, The Gentleman & Cabinet Makers Director, 1762 ‘Girandoles’ Plate CLXXVIII

CHINOISERIE BLACK JAPANNED OVERMANTLE MIRROR A 19th-century chinoiserie black and gilt japanned overmantel mirror of rectangular form with gold hatched border and decorative oriental scenes, the sides with a bold gilt ribbon motif and surmounted by a projecting head of a Chinaman within a petal roundel, flanked by two opposing recumbent winged with scaled bodies, clawed feet and stylised dog / human heads.

provided endless adaptations of the exotic and as exhibited here with mythical serpent dog headed sea creatures and magnificent Indonesian inspired fantastical oriental bust combined with more familiar landscapes and trellises picked out in gold on a black lacquer ground.

Picture by Jim Holden

The Prince Regent, later George IV took chinoiserie and orientalism to a theatrical scale, using elements of Chinese, Indian and Japanese design. Of course, it was a Western interpretation as he had never actually been to these places… but the Royal Pavilion is a prime England, circa 1870 example of the British fascination and interpretation of the exotic. Height 180 cm (71 in) By drawing inspiration from Width 152 cm (60 in) foreign lands, George IV was demonstrating his mastery of the Chinoiserie had become a popular globe. He was also reconfirming style from the 16th century, to the that Chinoiserie was here to stay mid 18th century rococo of Thomas for decades and centuries to come. Chippendale as documented in his ‘The Gentleman & Cabinet Makers This overmantle dates to the latter Director’ 1754. Chinoiserie was in half of the 19th century when the vogue and never fell from grace, to style and taste perseverred with this day interpretations continue to great accomplishment. be explored. Its whimsical motifs

Brighton Pavilion Chinoiserie Interior

18th century mirror making, Plate 1, Diderot Encylopédie

“Glass after it comes from the factory, goes into the hands of the grinder and silverer, that it may be completed for framing. Before they begin to grind, they bed the glass in plaster of Paris, spread upon a table made on purpose. Then they take sand and water, and, with another glass of smaller size they rub it to a perfectly even surface, which then has the appearance of smooth slate. The next operation, is what the call

smoothing, which is preparative to polishing; to effect, they lay a wet blanket on a stone table, and taking water and emery of different degrees of fineness, with another glass, as before in grinding, they skue it until it is smooth, and then proceed to polish it. For this purpose, they bed it again in the plaster of Paris, and take an oblong block of wood, covered in course blanket or lap, as they term it, charged with tripple, which is made

it. This they term quicksilvering the foil. After this, they pour on to the foil, a proper quantity of quicksilver sufficient to cover all the foil and flow over the glass. Then they take clean cloths to clear the plate from all dust before they lay it on the silver, which they do by shutting it over the edge of a paper doubled on one edge of the foil, till the glass comes to its due place on the silver. This method prevents the air from being drawn in between the plate and the silver, which would prevent the silver from fixing. The glass is then pressed down to the quicksilver, by a number of lead weights, that the quicksilver may adhere to the glass, and the foil also. In this state it is to remain a few hours or days, according to the size of the glass. A glass 18 by 30 inches, requires 5 or 6 hours, and one of 60 by 100, 5 or 6 days under the weights. And after the glass is turned over, it requires to lay a few days in a sloping direction , that the unfixed quicksilver may descend to one corner of the glass, and so fall off. Glasses for chimney pieces run various, according to the size of the fire-place, and the height of the wall above. To save expence, they are sometimes fitted up in three plates, and the joints of the glass covered with small gilt mouldings or pillasters. At other times with the naked joint only. When they are managed in this way, the expence of the plate is reduced to one third less, or more sometimes. It adds however something to the expense of the frame, but not always; for when they are of one plate the frame in general is made bolder and more elegant.

of iron ore. This block has to stick fixed to it, the upper end of which is fastened to the floor above, and this stick giving way as a bow, it presses the block every way upon the glass. as it is moved backwards and forewards on its surface. When they have done with this block they put to another charged with putty, made from grain tin, with which they rub as before, and bring it to a fine transparent polish ready for silvering. This last process,

they term white lapping. They then prepare the glass for silvering, by taking dry whitening, and with a hand rub it about the glass, to take off the dampness, and cleanse it from spots, that it may receive the quicksilver (mercury). On a table of stone, they lay a sheet of tin foil, which must be as large as the plate of glass; and to make the quicksilver adhere to the foil they first rub a quantity of quicksilver, with the hand over the foil to cleanse

Glasses may, however by ordered to any size to suit the pier they are for, from 36 by 60 inches to 75 by 117, which is the largest they cast, at the Brtitish Factory, Blackfriars Bridge, London. On this article, I have received my nformation from Mr. Black, Glass Cutter, near the Seven Dials, Long Acre; so that the preceding particulars on grinding, polishing and silvering may be depended upon as genuine.” Thomas Sheraton, 1803

REFLECTING THE LOCKDOWN Thomas Woodham-Smith

The lockdown at Hanover gardens has afforded me the opportunity to watch a few animation films again and again and again with my 2 1/2 year old boy twins. I could probably go on Mastermind and answer questions on the Cars trilogy, Moana or The frog and the Princess. Alongside this relentless repetition are the triumvirate of tidying, cleaning and cooking. But in contrast to our ever more gleaming home I have to admit that yours truly looks worse than ever. My wife, Esther, had a go at cutting my hair and it is now quite charmingly uneven. Neither of us feels the urge to get into ironing which means I slob about in t-shirts and as I rarely leave the house I mainly wear pyjamas and slippers. To add to the glamour I have reduced my shaving to a couple of slices a week so consequently, I am quite grizzled. If you put the whole package together you will come up with someone who does not welcome or seek after long selfcontemplation in the mirror. This is particularly ironic as I have quite a few mirrors and I love buying them.

PRE INDUSTRIAL REVOLUTION MIRRORS If you go back in history there was a crucial moment when the mirror plate ceased to be more valuable than the frame around it. This turning point is much more recent than you might think. Mirror plate truly became available to the masses only after the mid 19th century when sheets of mirrored glass could pour out of factories. Before then a mirror had to be made from a bubble of blown glass that was flattened out and then later silvered using mercury paint. One of the curiosities of mercury is that it’s fluid nature survives metamorphosis into a paint and with very old mirror you can see 26

17th century Dutch mirrors with overscale ripple moulded frames made for the earliest mirror plates.

where at the bottom of the plate the mercury has become thicker and sparkles brightly as it has flowed over centuries slowly down to the bottom of the plate. The earliest mirrors very often have an over scale frame to compensate for the smallness of the mirror plate. You can see this with my Dutch bolection ebony and ebonised ripple mirrors. These extraordinary examples of lathe turning capture the spirit of the late 17th century perfectly. The smart black can conjure up the Puritans in England and the age of Rembrandt in the Low Countries. Black was the smart colour for every aspect of life. The two mirrors I have are identical in size and date but differ in their finish. One is the famous chequer board pattern and the other is a more familiar type of turning. The plainer example however retains its original bevelled mirror plate. This mirror is quite aged but is a miracle survival. The other mirror is rarer but does not retain its original glass. It is a comfort that I cannot see myself in the early mirrors, nor can I see myself in the Queen Anne giltwood mirror. That too retains an absolutely wonderful original mirror plate. I live in South London and it is a nice thought to consider that I live a short walk from where this mirror was possibly produced. The most prestigious glass works at the time were in Vauxhall and we now tend to speak when we encounter a superb period mirror plate of it being a Vauxhall plate. We look for a really soft bevel, thin glass and a warm Mercury silvering. This giltwood mirror has it all. In addition, it also benefits from its simple but rich design and its original gilding. You can nearly also tell original gilding when looking at so-called Gesso mirrors because the punch work decoration which is so distinctive of the style does not overlap. All the little punched circles are distinct from each other. This is an example of how the

Queen Anne mirror retaining its original Vauxhall mirror plate NWA Archive

Vauxhall glass factories, the highly polluting furnaces and the danger of fire forced the works on the south side of the Thames, near the river, convenient for coal and material transport.

craftsmen of the 18th century just had more time to carry out their work than those of later eras. A slipshod approach emerges the more the time and concomitant financial pressure to complete the work is piled on.

In Italy, perhaps in Venice, in the mid 18th century the normal material for mirrors was in this case eschewed in order to create something that could be gilt wood but is in fact gilt bronze. This marvelously fluid rococo design is just delightful to roam round with the eye. There are so many delightful curves and shapes. This

is a mirror I can look at myself in because I am never looking at myself I just look at the frame and revel in its shape. In addition, I love looking at the nature of the gilding. A master craftsman has burnished it and the surface has been pushed into a sublime subtle ripple which flows over the surface giving it a rich lustre and glitter.

Moving on to the early 19th century I have a very unusual Regency over mantel mirror. It has a wonderful label on the back trumpeting its Norfolk makers. It is an articulated mirror that tips forward or back depending on whether you are looking to admire yourself or reflect candle light back into the room. By repute, a mirror such as this one was supplied for every bedroom mantelpiece at the great Norfolk house Gunton Park. For me, I am equally grateful currently that it resides at a height where it is almost impossible to admire oneself.

PAIR OF SOLID EBONY INDO DUTCH WALL MIRRORS

Pair of large scale solid ebony Indo Dutch Colonial Wall Mirrors with substantial ebony moldings within broad side panels. The construction with ebony wood dowels. Ceylon, 19th century Height 143 cm (56 1/4 in) Width 122.5 cm (48 1/4 in)

REGENCY GILTWOOD CONVEX MIRROR A fine 19th century Regency convex mirror with a carved eagle perched at the apex with its wings spread and gilt balls suspended from its mouth, the mirror with an ebonised border and gilt balls supporting two carved and gilt candle arms with bronze nozzels. Matching foliate ornament at the base. England, circa 1810 Height 109 cm (43 in) Width 52 cm (20 1/2 in) Depth 24 cm (9 1/2 in)

The ‘Mirror’ section in Thomas Sheraton’s ‘Cabinet Dictionary’ of 1803 only documents convex mirrors with gilded frames - such was their popularity. Often used in dining rooms, their convex mirror plates allowed butlers to keep an eye on proceedings while also maintaining descretion. Regency convex mirrors typically are adorned with a gilt eagle whose symbolism reaches back to Greek mythology. The eagle historically represents Jupiter as his companion; the birds exceptonal vision casts a long reaching triumphant gaze and is represented

perched with balls supended on chains from its beak. The moulded frames are studed with gilt balls reminiscent of musket shot, a familiar device taking inspiration from the battlefields of Europe. In addittion the use of candle arms offered illumination to otherwise dark rooms and the convex mirror plate amplified their effect.

20TH CENTURY GROTTO STYLE SHELL AND POLISHED STONE WALL MIRROR A fabulous 20th-century Grotto style wall mirror, the frame profusely decorated with shells, corals, stones and polished agate. Italy, circa 1900 Height 117 cm (46 in) Width 79cm (31 in)

19TH CENTURY SOLID SILVER MUGHAL INDIAN REPOUSSÉ MIRROR A fine 19th-century solid silver mirror frame, the broad cushion frame profusely worked and embosed with repoussé scrolls and ornament, the corners with cast silver mounts fashioned as bunched acanthus leaves. India, circa 1830 Height 116.5 cm (46 in) Width 86 cm (34 in)

GEORGE III GILTWOOD ROCOCO MIRROR A fine 18th century rococo wall mirror, the frame with pierced border with C scrolls and foliate palm and acanthus leaf details. England, 1760 Height 139 cm (54 1/2 in) Width 82 cm (32 1/4 in) Depth 12 cm (4 3/4 in)

NEO CLASSICAL LATE 18TH CENTURY PARCEL-GILT PIER MIRROR

EARLY 20TH CENTURY VENETIAN BLUE BORDER GLASS MIRROR

Early 19th-century parcel-gilt pier mirror of rectangular form, the frame with raised and gilt strapwork, the apex with a pierced balustrade of interlocking rings with a profile bust of a Roman Emporer in a medallion below a bow and husk swags. Retaining its original foxed mercury mirror plate. Sweden, circa 1800

A Venetian shield form wall mirror with a shaped and bevelled mirror plate, framed by a blue over clear bevelled mirror border with clear cut mirror stylised foliate details. Venice, Italy, circa 1900

Height 126 cm (49 1/2 in) Width 79 cm (31 in)

C O N TA C T

Nicholas Wells Founder and Chief Executive Nicholas Wells Antiques Ltd By Appointment Only 169 Piccadilly, 5F London, W1J 9EH

T.+44 (0)20 7692 0897 W. www.nicholaswells.com E. antiques@nicholaswells.com

With thanks to Lord Constantine, Andrew Alfree, Thomas Woodham-Smith, Paul Crann, Nigel Castell and Graham Butler for assistance in compiling this catalogue.