![]() ![]() Sculptor and furniture maker Paul Evans had been making collage-style cabinets since at least the late 1950s when he designed his Patchwork mirror - part of a series that yielded expressive works of combined brass, copper and pewter - for Directional Furniture during the mid-1960s. Today’s simple yet chic mantel mirror frames, often neutral in color, owe to the understated mirror designs introduced in the postwar era. Perhaps unsurprisingly, mid-century modernism continues to influence the design of contemporary mirrors. Friedman Brothers is a particularly popular manufacturer known for decorative round and rectangular framed mirrors designed in the Rococo, Louis XVI and other styles, including dramatic wall mirrors framed in gold faux bamboo that bear the hallmarks of Asian design. The geometric shapes and beveled edges that characterize mirrors crafted in the Art Deco style of the 1920s can bring pizzazz to your entryway, while an ornate La Barge mirror made in the Hollywood Regency style makes a statement in any bedroom. ![]() Today’s coveted glass Venetian mirrors, which should be cleaned with a solution of white vinegar and water, were likely produced in Italy beginning in the 1500s, while antique mirrors originating during the 19th century can add the rustic farmhouse feel to your mudroom that you didn’t know you needed.īy the early 20th century, experiments with various alloys allowed for mirrors to be made inexpensively. We’ve come a great distance from the polished stone that served as mirrors in Central America thousands of years ago or the copper mirrors of Mesopotamia before that. The road from early innovations in reflective glass to the alluring antique and vintage mirrors in trendy modern interiors has been a long one but we’re reminded of the journey everywhere we look. In the 1851 census he was living in Oxford Square. He would appear to have retired from business in 1849 from his entries in the Post Office directory. In the 1839 directory Froom was listed as a looking glassmaker and in the 1841 census as a plate glass manufacturer. William Froom and his wife Elizabeth Anne had five children born between 18, christened at St Mary-le-Strand.William Froom was a customer of the composition ornament maker, George Jackson & Sons (qv), 1836-1842 (see Jackson account book, V&A Archive of Art and Design, AAD//3). By 1829 Froom had entered into a short-lived partnership with William Cribb (qv), which was dissolved in 1831 (London Gazette ). He followed Fentham & Co (qv) at 136 Strand, using the description, ‘Late Fentham & Co’, on his trade label for many years. He first comes to notice in 1825, when he attended a meeting of more than fifty master carvers and gilders who resolved to resist the demands of journeymen for an increase in wages (The Times 30 June 1825). William Froom (1791-1865) was christened in 1791 at St George the Martyr, Southwark, the son of William and Martha Froom. At 136 Strand, London.Ĭarvers and gilders, looking glass manufacturers, picture frame makers. Stamped on the back with important London makers name and address.įroom & Cribbs 1832-1849. The scrolled arched top centred by an open scallop cartouche with cresting eagle.īoth the frame and glass are in good condition. The beautifully carved wooden frame decorated with flowers and foliage. In fact we believe that of its type this is one of the nicest we have had through our stock in quite some time.Īs with all the items which we offer for sale, this chippendale gilt mirror.Ī carved giltwood mirror of very large-scale and great quality, made by Froom & Cribbs of London. The mirror is also a great size in terms of its functionality, big enough to have real presence in a room, but at the same time small enough to retain elegance and not be totally overpowering. The mirror plate itself is also replaced. It should also be noted that as expected for something of this age and it's relatively delicate nature there is some historic breaks and repairs to the frame, all of which have been sympathetically repaired and restored to blend in beautifully over the course of its history. This almost certainly in fact retains its original gilding with various touched up sections throughout the years. In terms of condition the gilt retains a lovely vivid colour to it, whilst not being overpoweringly shiny and bright like some that may have been totally regilded recently. The carved pagoda type surmount is a particularly nice feature and really adds to the overall elegance of the mirror. This fabulous 18th century mirror features many of the well known and highly regarded designs from the chippendale period. A Delightful And Rare 18th Century Chippendale Period Giltwood Wall Mirror, The Later Replaced Mirror Plate Enclosed By Very Attractive Carved, Pierced Frame Incorporating C Scrolls, Intertwining Branches And Rocailles Surmounted By Central Set Palm Leaf Design Pagoda Top. ![]()
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