A fine George III giltwood pier mirror in the manner of John Linnell circa 1760

Overall good condition; gilding refreshed with some old repairs to extremities; mirror plates with some pitting and crystallization; some mirror plates replaced. Beautifully carved, good proportions, gilding stable.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This beautifully carved pier mirror with its use of flower head garlands throughout and whimsical elongated form is very similar to the designs of John Linnell of the 1750s and 1760s.  The carving itself suggests a maker of great skill and the design demonstrates a sophisticated understanding of rococo forms.  The form of the cresting and the carving of the flowers are very similar to those of a pier mirror and console table now in the H.M de Younge Museum, San Francisco (Hayward and P. Kirkham, William and John Linnell, New York, 1980, p. 106, fig. 204)

The flower-head wreathed element to the upper section of the mirror is seen in a number of designs for mirrors by Linnell including one of 1765 which depicts three pier mirrors, one of which is above a console, another is above a commode. (V&S E. 253 1929) (Ibid., p. 52, fig. 103)

The profile is very similar to another design for a pier glass circa 1755-60 which has a similarly broken swan-neck pedimented top with similar corners and multiple plates. (V&A E. 227 and 187) (Ibid, p. 94, fig. 180) The profile and circular upper plate and arched lower plate is most reminiscent of a design for a pier glass circa 1755-60 by Linnell which incorporates a basket cresting. (V&A E. 205 1929) (Ibid., p. 96, fig. 186) (fig. 1)