Late-19th century giltwood pier glass, with classical urn foliage and wheat ear cresting. This is the classic form of the pier glass. Christie's South Kensington, 14 March 2008 A pier glass or trumeau mirror is a mirror which is placed on a pier, i.e. a wall between two windows supporting an upper structure.
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A card table of around 1750 and made from mahogany stands between the south facing windows in this room, and a pier glass of the late eighteenth century with a giltwood frame hangs above it.
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Like Scott, he is also a graduate of Trinity College (Class of 1981). They have two children.Longon, Brooke, "Writer Joanna Scott reveals her muses" , Pier Glass magazine, Spring 2003, at Tulane University. Accessed October 26, 2006.
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The table was developed in continental Europe in the 1500s and 1600s, and became popular in England in the last quarter of the 1600s. The pier table became known in North America in the mid-1700s, and was a popular item into the mid to late 1800s. It was common for the space between the rear legs of the pier table to contain a mirror, or "pier glass", to help hide the wall. Later pier tables were designed to stand in any niche in a room, and the pier glass moved above the table.
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Denis Maguire R.C. Bp. of Kilmore. 7\. Codicil- I order my three mohogony tables, six mohogony chairs and the large pier glass, my property, to be sold by auction and the price given to the poor of the parish of Killasser. Denis Maguire.
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Large 18th-century Rococo pier glass in the Amalienburg Pavilion, Schloss Nymphenburg. A trumeau mirror is a type of wall mirror originally manufactured in France in the later 18th century. It takes its name from the French word trumeau, which designates the space between windows. Such a mirror, usually rectangular, could also hang above an overmantel.
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It is therefore generally of a long and tall shape to fit the space. It may be as a hanging mirror or as mirrored glass affixed flush to the pier, in which case it is sometimes of the same shape and design as the windows themselves. This was a common decorating feature in the reception rooms of classical 18th-century houses. A console table typically stood below the pier glass.
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Also a best-seller on both sides of the Atlantic was her massive saga of the slave- trade and Bristol shipping, The Sun Is My Undoing (1941); this was the first part of a trilogy, but the remaining volumes were far less popular. Though never quite accepted by literary critics- Sun..., for example, was described as "vigorous but tinselly"- she was elected a Fellow of the Royal Society of Literature in 1951. Her two volumes of autobiography, Looking Glass (1966) and Pier Glass (1968) offer some delightful views of the English creative set from the 1920s to the 1950s. Her home at the time of her death was the cottage she had shared with Nicholson during the last years of his life, in the village of Blewbury, Berkshire, bought after their London home was destroyed by a Second World War bomb.
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She believed the public rationalised to itself the shallowness of this desire by affecting to admire Diana for her charity work, but that this was belied by their relative antipathy toward Princess Anne, who "achieves more before breakfast on a wet Sunday morning than Little Miss Doe- eyes did in a lifetime of heroic hugging." She therefore hopes to improve her standing with the public by changing her appearance, rather than by making herself a more sympathetic person. She fixates on various ways in which she might achieve this, but never actually carries out any of the schemes she imagines. In scenes visually resonant of the "nose cards" scene in the Steve Martin movie Roxanne, Camilla is shown looking at herself in profile in a Kensington Palace pier glass while holding analogous "breast cards" to her chest.
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Cat's Eye explores the construction of identity; it is written mostly as flashbacks, as Elaine reflects on the forgotten events of her childhood that shaped her personality and struggles to integrate lost aspects of her self. In Elaine's self- portrait, a pier glass reflects three little girls who are not in the painting, demonstrating their simultaneous absence from Elaine's past and their presence in who she has become. Elaine's story is detailed in rich visualizations and descriptions of her art reflecting her childhood influences, not only by the trio of girls, but also by her rootless untraditional upbringing, and relationships with her parents who remain nameless and unidentified throughout the story; her genius brother and his strange ways and fate; her comforting secret alliances with the male gender; kind and stern female teachers; art instructors; peer artists; the media; motherhood and mid-life confrontation of self. The country of Canada itself also has a prominent role that acts as an additional character with her experiences in Toronto.
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