Pair of Giltwood Mirrors with Porcelain, Rococo, 18th Century

About the Item

Pair of "cornucopias" with mirrors, nearly identical (except for details in the leaves of the frames), carved and gilded wood. Inside, the main mirror has moldings that draw curves and straight areas, volutes and other elements. The elaborate decoration of the wall mirrors is based on grotesques in the lower part, from which plant elements emerge that are prolonged, accompanied by hangings, towards the upper part by the sides, with openwork details. Above, the crests have circular spaces, flanked by birds perched with its wings partly extended, and surrounded by elaborate frames that, like the rest of the pieces, have architectural elements (scrolls, smooth oval mirrors), plant elements and shapes that remind Rococo rockery. Clearly, the examples are included within the Rococo, counting, even with the slight asymmetry presented by the decorative motifs of the same and that slight difference between both examples. It is possible to find similarities in the design of these cornucopias with different engravings and works by Matthias Lock (London, circa 1710-circa 1765). Compare with prints of the work "A New Book of Ornaments with Twelve Leaves Consistint of Chimneys, Sconces, Tables, Spandle Panels, Spring Clock Cases, Stands, Chandelier and Girandole, etc." (Henry Copland and Matthias Lock, London, 1752 ), with examples preserved in the Metropolitan Museum of New York, drawings of the Victoria & Albert Museum in London, etc. Matthias Lock was the first to publish Rococo designs in England, as well as being considered the first to master the Rococo style and include it in his works and designs. Little more is known of his life: he was a pupil of Thomas Chippendale and Adams, perhaps he worked with Henry Copeland and his work derived from the most elaborate Rococo to the most harmonious Classicism. The small porcelain plates that appear in the upper part show a pheasant located on a rock and between chrysanthemums and other flowers, in a common composition in this type of objects, made in China for export to Europe and, therefore, without having given meaning to any of the animals or plants (the golden pheasant was the Emperor's symbol, and the one in this dish has no yellow in its plumage). Chinese porcelain was already known in Europe in the fifteenth century, but its commercial peak came from the sixteenth, with the well-known Blue and White pieces that even inspired the local pottery of the different kingdoms. As for the so-called "Famille Rose" because of the predominance of this shade in its enamelling, it was born with the introduction of that color in China at the beginning of the 18th century by the Jesuits and it continued with its production until the 19th century. In addition, it became so valued that it displaced the "Famille Verte" in European courts at some moments, with the works of the reigns of the Yongzhen (1678-1735) and Qianlong (1711-1799) Emperors as the most abundant and much appreciated and sought after for its great quality. Stylistically, these two plates inserted in the mirrors are very similar to works of the "Famille Rose" made at the end of the reign of Emperor Yongzheng or early Qianlong in Kingdezhen (Jiangxi, Republic of China) towards, approximately, 1735. In fact, there are some dishes in private collections with pheasants in the same position on a stone practically equal to that of these two examples. Note that you can see the decorated border of the same, hidden almost entirely by the wood. Size: 100 x 68 x 12 cm.

Similar to:

Matthias Lock (Manufacturer)

Dimensions:

Height: 39.38 in (100 cm)Width: 26.78 in (68 cm)Depth: 4.73 in (12 cm)

Style:

Rococo (Of the Period)

Materials and Techniques:

Other,Wood,Gilt

Place of Origin:

Europe

Period:

18th Century