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A GEORGE III GILTWOOD PIER GLASS
No VAT will be charged on the hammer price, but VA… Read more THE PROPERTY OF THE LATE DOWAGER LADY INCHYRA, SOLD BY ORDER OF THE EXECUTORS (LOTS 143-146)
A GEORGE III GILTWOOD PIER GLASS

Details
A GEORGE III GILTWOOD PIER GLASS
The rectangular plate in a twisted-ribbon slip and eared mirrored border divided by palmettes, with an urn cresting issuing acanthus and laurel scrolls, the sides hung with further laurel swags, with a pierced acanthus-scrolled apron flanked on each side by a laurel-swagged plinth supporting a flaming urn, the backboards replaced, regilt and with traces of original gilding, restorations to the peripheral carving
114 x 55¾ in. (289.5 x 141.5 cm.)
Special notice

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.
Sale room notice
Literature for this mirror:
A. Rowan, 'Inchyra House, Perthshire', Country Life, 13 February 1969, p. 345 (shown in situ in the Dining-Room).

Lot Essay

The urn-capped frame has laurel-festooned Roman acanthus husks corresponding to those of a pier-glass pattern featured in Robert and James Adam's, Works in Architecture, 1774, vol. II, pl. VIII (P. Ward-Jackson, English Furniture Designs of the Eighteenth Century, London, 1958, fig 229). Thomas Chippendale introduced festoons in his overmantel frame design for a painting at Nostell Priory, Yorkshire, while the base plinths with laurel-festooned patterae relate to an Adam design for Derby House, London.
A related urn-capped and festooned pier glass, with similar eared 'architectural' and volute-scrolled corners, also appeared in a Matthew Darly etching dated 1770 (ibid., fig. 257).
The ribbon-ties are very much in the manner of John Linnell as seen in his drawings at the Victoria and Albert Museum, London.
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