These 'gerandoles', originally fitted with sconce candle-branches, relate to oval neo-classical pier-glasses published by the architect Robert Adam in his Works in Architecture, 1774, fig. ..., and their inverted-heart form, with inward-scrolled volutes, derives from his 'antique' frame for a palmette, such as appears in his 'Adelphi' balustrades of the late 1760's. The carver Matthias Lock, a collaborator with Thomas Chippendale on The Gentleman and Cabinet-Maker's Directors, 1754-63, included the framed palmette and the term 'Ovals' for such mirrors in his New Book of Pier-Frames, Ovals, Gerandoles, Tables etc., 1769 (see: Furniture History Journal, vol. XV, 1979, pl. 64). The Festive ribbon-twist border of French guilloche is banded by pearls and waterleaves which, together with the bold acanthus bud, can be found on the Louis XVI style chairs which Thomas Chippendale supplied to Edwin Lascelles for his Music Room at Harewood House, Yorkshire, about 1770 (see: Gilbert, op. cit.) fig. 190). These 'gerandoles' were almost certainly supplied to enliven the corner window-piers of that room. A pier glass which Chippendale supplied for the state bedroom in 1773 also has a number of related features (Gilbert, op. cit., fig. 287). See also lot ...