20/09/2026
๐ฅ๐ถ๐ฐ๐ต ๐ง๐ฟ๐ฎ๐ฑ๐ถ๐๐ถ๐ผ๐ป๐
โIntoxicating, sensual and extravagantโฆโ ๐๐ฉ๐ฆ ๐๐ด๐ด๐ฆ๐ฏ๐ค๐ฆ ๐ฐ๐ง ๐๐ฐ๐ค๐ฐ๐ค๐ฐ, Andrew Graham-Dixon
Taking centre stage, a superb and highly decorative mid 18th century Irish Rococo mirror of rectangular form, its giltwood frame a masterclass in carving, scrolling rocaille interlaced with naturalistically rendered oak leaves and acorns, gathered beneath a bold shell crest and flanked by foliate scrolls, with a matching shell and oak leaf apron below. Beneath it stands an elegant 18th century Spanish Mallorcan commode in book-matched walnut veneer of exceptional figuring, its three faces inlaid with marquetry and raised on ogee feet โ a piece whose complexity of construction and depth of patina speak to the very highest order of craftsmanship, finished with an onyx top and an original panelled back.
Above is displayed a considered gathering of decorative pieces: a large early 20th century Meissen baluster vase and cover in cobalt blue and white, in the celebrated โBlue Onionโ pattern; a 19th century French โboule dโescalierโ in clear and cranberry glass; and one of a pair of mid century Italian amber Murano glass vases. While framing the mirror, a wonderful set of twelve 19th century English botanical fruit prints, published by John Lindley, London, 1830, drawn largely by the illustrator Augusta Withers, engraved by W. Clark and S. Watts, and retaining their original hand-colouring throughout.
Underfoot, a large scale 19th century Khorasan carpet, its vegetable-dyed palette mellowed by age into a rich and characterful patina. The scale, the spontaneity of its beautiful design, and the signature of a noted master weaver of the period, all point to a piece once commissioned for someone of rank. Looking out with poise, a handsome, large scale 19th century British oak and elm armchair, dressed with linen cushions.
Walls: Edinburgh White
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Floors: Limestone
