George III Giltwood Pier Mirror 175x94cm

An exceptional mid 18th-century George II/III giltwood split plate pier mirror, profusely carved with rocailles, chinoiserie details, water fountains, acanthus details and surmounted by a central Ho Ho Bird. A most splendid mid-18th Century giltwood divided plate pier mirror, in the manner of Thomas Chippendale. The elegant frame profusely carved with rocailles and other elaborate rococo elements, the whole surmounted by a central ho-ho bird.
England, circa 1760

Height: 175 cms (69 ins)
Width: 94 cms (37 ins)

This magnificent mid-18th-century George III giltwood pier mirror, standing at a grand height of 175 cm and width of 94 cm, encapsulates the zenith of Rococo and Chinoiserie decorative art forms. The mirror is a profound demonstration of the period’s decorative arts, particularly under the influence of master craftsmen like Thomas Chippendale, whose designs revolutionised the aesthetics of the time.

Ornate Detailing and Symbolic Embellishments

The frame of the mirror is elaborately carved, adorned with a profusion of rocailles—typical of Rococo style—that provide a sense of movement and fluidity that is both intricate and captivating. Additional embellishments include acanthus motifs and water fountains, each element rich in symbolism and executed with exceptional skill. These carvings not only enhance the frame’s aesthetic appeal but also demonstrate the artisan’s mastery over giltwood, making the mirror a vibrant canvas of historical storytelling.

Chinoiserie Influence and the Ho Ho Bird

Prominent among the decorative motifs is the Chinoiserie style, reflective of the 18th-century European fascination with Asian aesthetics. The inclusion of the Ho Ho Bird, a mythological creature often associated with Chinese lore, at the crest of the mirror serves as a focal point. This figure symbolises good fortune and longevity, themes that were eagerly adopted in European decorative arts during this period. The bird’s placement not only crowns the mirror with a touch of the exotic but also aligns it with the era’s taste for orientalism.