A George III giltwood pier glass, circa 1795,

the oblong plate within border glasses and beaded interstices within reeded Corinthian columns, the crest formed of a festooned urn of flowers on a shaped pedestal carved with crossed palm boughs, re-gilded, main plate replaced,

Very good overall condition. Re-gilded and the main plate replaced as stated in the catalogue description. The other plates appear to be original and all are rather marked. Back boards replaced.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Delicately cast flowers, swathes of fabric and urns wired and surmounted above an upper cornice are decorative flourishes that were featured in published designs from the end of the 18th century by some of the very best cabinet makers and designers. Often forming part of larger decorative schemes or combined with pier tables or chimneypieces, these designs provided a rich source, enabling cabinet makers to either copy or create work that was a fusion of the various motifs employed. The Gillow sketch books from 1760 to 1800 provide a rich treasury and a sense of the inspiration to which cabinet makers were exposed. There are two drawings which are of particular note, and one can see elements employed in the offered lot from both, see the 'Pier-glass frames' reproduced by Lindsay Boynton, Gillow Furniture Designs 1760-1800, Royston, 1995, pl. 21 and 22. Between these two watercolour drawings we see the same bound reeded uprights, a surmount incorporating a central waisted plinth supporting a classical urn, tied swathes of fabric and a profusion of flowers.