A pair of early George III wall mirrors, circa 1760,...
the rectangular plates in carved giltwood frames incorporating C-scrolls, icicles, rockwork and floral sprigs, surmounted by a ho-ho bird
151cm high, 73cm wide; 4ft. 11 ½in., 2ft. 4 ¾in.
Condition Report:
The gilding fresh with little by way of chips and rubbing. The plate also in very good condition, with light scratching and some losses to the edges. Occasional very fine splits to gesso. The top-right floral carving to one example is slightly loose and would benefit from the screw being tightened.
Catalogue Note:
These mirrors do not seem to directly derive from a specific design, but it appears that the carver of the mirrors was inspired by Thomas Johnson's engraving of a mirror plate, which was published in his One Hundred and Fifty Designs in 1761. The reason for this speculation is because the mirrors demonstrate a similar interest in asymmetrical balance and a comparable cresting (cf. Elizabeth White, Pictorial Dictionary of British 18th Century Design, 1990, p.331).
Thomas Johnson, a prominent London carver and gilder, was one of the key figures in the Rococo movement and published several influential collections of designs. Between 1756 and 1758, he published a total of 52 design plates in four parts and engraved by Butler Clowes and James Kirk, which were re-issued in 1761 with an additional plate. Johnson's designs are mainly known for their naturalistic and pastoral ornaments, infused with a Rococo aesthetic, traits that are clearly reflected in these mirrors.
Being over-gilded in the 19th century, the mirrors have maintained their original painted surfaces, which appears to be of a grey/white colour. Unlike the processes of gessoing, re-carving, and gilding, which are more intrusive, painting allowed for greater detail in the initial carving since only a thin layer of paint was necessary to fill the wood grain.
Originally hung in the Music Room of Thornton Manor, the mirrors were described in inventories as having 'wreather pedestals'. The exact meaning of this term is unclear, but it suggests that the mirrors were equipped with some form of apron when they entered the collection, though it has subsequently become detached.
The 1st Viscount Leverhulme (1851–1925), one of Victorian England’s most important collectors of fine and decorative art, started his life as William Lever, the son of a Lancashire grocer. After competently growing the family business, he became immensely successful with his company Sunlight Soap. With Victorian Britain becoming increasingly polluted, Leverhulme harnessed the increasing demand for cleaning products by being the first to efficiently mass-produce soap using vegetable oil. As well as putting his fortune towards philanthropy, he was a major art collector, and often used paintings in the advertising for Sunlight Soap.1 Many of the gems of his collection are still on display the Lady Lever Art Gallery today, while many others were sold at Sotheby’s in June 2001 – bidding at these auctions reached over £9m, setting the record for a house sale at the time.2
1 For examples, see Sam Bytheway, ‘The art of advertising’, liverpoolmuseums.org.uk. Available at: [accessed 22nd March 2024]
2 ‘Treasure sale breaks UK auction record’, BBC News, 28th June 2001. Available at: [accessed 22nd March 2024]
Provenance:
Sotheby's London, The Leverhulme Collection, 26-28 June 2001, lot 83
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the rectangular plates in carved giltwood frames incorporating C-scrolls, icicles, rockwork and floral sprigs, surmounted by a ho-ho bird
151cm high, 73cm wide; 4ft. 11 ½in., 2ft. 4 ¾in.
Condition Report:
The gilding fresh with little by way of chips and rubbing. The plate also in very good condition, with light scratching and some losses to the edges. Occasional very fine splits to gesso. The top-right floral carving to one example is slightly loose and would benefit from the screw being tightened.
Catalogue Note:
These mirrors do not seem to directly derive from a specific design, but it appears that the carver of the mirrors was inspired by Thomas Johnson's engraving of a mirror plate, which was published in his One Hundred and Fifty Designs in 1761. The reason for this speculation is because the mirrors demonstrate a similar interest in asymmetrical balance and a comparable cresting (cf. Elizabeth White, Pictorial Dictionary of British 18th Century Design, 1990, p.331).
Thomas Johnson, a prominent London carver and gilder, was one of the key figures in the Rococo movement and published several influential collections of designs. Between 1756 and 1758, he published a total of 52 design plates in four parts and engraved by Butler Clowes and James Kirk, which were re-issued in 1761 with an additional plate. Johnson's designs are mainly known for their naturalistic and pastoral ornaments, infused with a Rococo aesthetic, traits that are clearly reflected in these mirrors.
Being over-gilded in the 19th century, the mirrors have maintained their original painted surfaces, which appears to be of a grey/white colour. Unlike the processes of gessoing, re-carving, and gilding, which are more intrusive, painting allowed for greater detail in the initial carving since only a thin layer of paint was necessary to fill the wood grain.
Originally hung in the Music Room of Thornton Manor, the mirrors were described in inventories as having 'wreather pedestals'. The exact meaning of this term is unclear, but it suggests that the mirrors were equipped with some form of apron when they entered the collection, though it has subsequently become detached.
The 1st Viscount Leverhulme (1851–1925), one of Victorian England’s most important collectors of fine and decorative art, started his life as William Lever, the son of a Lancashire grocer. After competently growing the family business, he became immensely successful with his company Sunlight Soap. With Victorian Britain becoming increasingly polluted, Leverhulme harnessed the increasing demand for cleaning products by being the first to efficiently mass-produce soap using vegetable oil. As well as putting his fortune towards philanthropy, he was a major art collector, and often used paintings in the advertising for Sunlight Soap.1 Many of the gems of his collection are still on display the Lady Lever Art Gallery today, while many others were sold at Sotheby’s in June 2001 – bidding at these auctions reached over £9m, setting the record for a house sale at the time.2
1 For examples, see Sam Bytheway, ‘The art of advertising’, liverpoolmuseums.org.uk. Available at: [accessed 22nd March 2024]
2 ‘Treasure sale breaks UK auction record’, BBC News, 28th June 2001. Available at: [accessed 22nd March 2024]
Provenance:
Sotheby's London, The Leverhulme Collection, 26-28 June 2001, lot 83
Estimate
Time, Location
Auction House
