A PAIR OF GEORGE II GILTWOOD GIRANDOLE MIRRORS ATTRIBUTED TO...
Each shaped plate surmounted by a mask over an asymmetric naturalistically carved frame, issuing twin branches, with lacquered brass drip pans and nozzles
51 in. (129.5 cm.) high, 19 in. (48.3 cm.) wide
Provenance
A superlative example of mid-Georgian carving and design, the execution of these girandole mirrors are attributed to Matthias Lock (d.1765). Upon his death, Lock was described by his contemporary, the carver and gilder, Thomas Johnson (1714-c.1778) as ‘the famous Matthias Lock, a most excellent Carver, and reputed to be the best Ornament draughts-man in Europe’ (J. Simon, ‘Thomas Johnson’s “The Life of the Author,” Furniture History, vol. 39, 2003, p. 3). During the 1740s Lock was employed by James Whittle (d.1759), 'Carver' to Frederick , Prince of Wales (d.1752), while his own workshop is recorded as being occupied by 'upwards of thirty men' (Thomas Johnson, The Life of the Author [1744], quoted in J. Simon, Furniture History, 2003, pp. 1-64).
The specialist carver, Lock, illustrated a satyr-hermed mirror with chinoiserie top-knot together with a winged river-god in circa 1760 (P. Ward-Jackson, English Furniture Designs of the Eighteenth Century, London, 1958, fig. 66). He also published similar herms in his New Book of Ornaments for Looking Glass Frames (1752) (pl.3), and included more on his contemporary 'Large Sconce' designed for John, 2nd Earl Poulett's tapestry room at Hinton House, Hinton St George, Somerset (J. Hayward, 'Furniture designed and carved by Matthias Lock at Hinton House, Somerset, Connoisseur, CXLVI, December 1980, pp. 284-286; M. Snodin, Rococo, Art and Design in Hogarth's England, London, 1984, L12).
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Each shaped plate surmounted by a mask over an asymmetric naturalistically carved frame, issuing twin branches, with lacquered brass drip pans and nozzles
51 in. (129.5 cm.) high, 19 in. (48.3 cm.) wide
Provenance
A superlative example of mid-Georgian carving and design, the execution of these girandole mirrors are attributed to Matthias Lock (d.1765). Upon his death, Lock was described by his contemporary, the carver and gilder, Thomas Johnson (1714-c.1778) as ‘the famous Matthias Lock, a most excellent Carver, and reputed to be the best Ornament draughts-man in Europe’ (J. Simon, ‘Thomas Johnson’s “The Life of the Author,” Furniture History, vol. 39, 2003, p. 3). During the 1740s Lock was employed by James Whittle (d.1759), 'Carver' to Frederick , Prince of Wales (d.1752), while his own workshop is recorded as being occupied by 'upwards of thirty men' (Thomas Johnson, The Life of the Author [1744], quoted in J. Simon, Furniture History, 2003, pp. 1-64).
The specialist carver, Lock, illustrated a satyr-hermed mirror with chinoiserie top-knot together with a winged river-god in circa 1760 (P. Ward-Jackson, English Furniture Designs of the Eighteenth Century, London, 1958, fig. 66). He also published similar herms in his New Book of Ornaments for Looking Glass Frames (1752) (pl.3), and included more on his contemporary 'Large Sconce' designed for John, 2nd Earl Poulett's tapestry room at Hinton House, Hinton St George, Somerset (J. Hayward, 'Furniture designed and carved by Matthias Lock at Hinton House, Somerset, Connoisseur, CXLVI, December 1980, pp. 284-286; M. Snodin, Rococo, Art and Design in Hogarth's England, London, 1984, L12).
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