Page 66 - Homes & Antiques (February 2020)
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Focus on
GILTWOOD
OVERMANTEL MIRRORS
Janet Gleeson explores how overmantels rose to
prominence, becoming a staple of decorative schemes
A giltwood overmantel mirror brings As technology progressed in the 18th
an instant injection of elegance, light century, ever larger overmantels were
and opulence to a room. Plus, their produced. To begin with, the French
large scale makes them eye-catching were pre-eminent, their mirrors
focal points. ‘They’ve been status adorning the homes of the rich in
symbols for centuries, and they still Europe. ‘Fireplaces in France were
work in modern homes,’ says Laura o#en lower than those in Britain to
Dadswell of Westland, London. accommodate them,’ says Laura.
Mirror-making for the international The architectural trends of the time
market began in Venice in the 1500s, shaped mirror styles and they were
but the Venetian manufacturing o#en conceived as part of a decorative
process – involving blowing cylinders scheme. Spurred on by high taxes on
of glass, then cu!ing the ends and imported glass, British makers fought
"a!ening the cylinder – limited the back from the mid 18th century.
size of glass plates they could produce. Thomas Chippendale and his
A sea change came in the 1680s, when contemporaries designed them, some
Bernard Perrot, a French cra#sman, adorned with paintings set in the
devised a new method of casting glass frame above the glass. At the end of the
in large "at sheets. It was then cut, century, Robert Adam’s designs were
polished and silvered by specialist embellished with delicate carving and
workers and set in decorated frames. gesso neoclassical motifs.
The heavier, more austere simplicity
of the Regency period was re"ected in
designs that o#en feature a strong
horizontal emphasis. In the 1800s and
beyond, be!er technology made glass
production cheaper and overmantels
became more widely available.
As with any antique, condition will
have a bearing on price. ‘Sometimes
gold paint is used to restore gilding
that is worn from years of dusting, but
this never has quite the same quality,’
warns Laura. ‘New glass isn’t the same
either. Original glass has a shimmery
gli!er and areas where it’s wearing
away o#en add to the appeal.’
The vast majority of overmantels on
the market today will date from the
Ornate Louis 19th century or later. Size, decoration,
XVI-style carved as well as condition, all play a part in
giltwood overmantel value. France remains a rich hunting
mirror from late ground – some can be found for £100 or
19th-century less in brocantes. On this side of the
France, £5,040,
Westland London. Channel, a large early 19th-century
version might be £500 plus, but earlier,
grander ones rise to £3,000 or more.
66 Homes & Antiques February 2020
