PAIR OF GILTWOOD MIRRORS. ROCOCO, 18TH CENTURY.

Antiques - Furniture
Reference: Z6638

Couple of cornucopias. Carved and gilt wood and porcelain. Century XVIII.
Pair of cornucopias with mirror, practically the same (except details in the leaves of the frames), carved and gilt wood. Inside, the main mirror has moldings that draw curves and straight areas, scrolls and other elements. The elaborate decoration of the wall mirrors is based on some grottoes in the lower part, from which there are plant elements that extend, accompanied by hangings, towards the upper part by the sides, with openwork details. Above, the tufts have two circular spaces, flanked by birds perched with partly extended wings, and surrounded by elaborate frames that, like the rest of the pieces, have architectural elements (scrolls, smooth oval mirrors ...), plant elements and forms reminiscent of Rococo rockery.
Clearly, the examples are included within the Rococo, counting, even with the slight asymmetry presented by their decorative motifs and that slight difference between the two examples. It is possible to find similarities in the design of these cornucopias with different engravings and works by Matthias Lock (London, ca. 1710-ca. 1765). Compare with engravings of the work “A New Book of Ornaments with Twelve Leaves Consistint of Chimneys, Sconces, Tables, Spandle Panels, Spring Clock Cases, Stands, a Chandelier and Girandole, etc.” (Henry Copland and Matthias Lock; London, 1752 ), with examples preserved in the Metropolitan Museum in New York, drawings from the Victoria & Albert Museum in London, etc.
Matthias Lock was the first to publish Rococo designs in England, in addition to being considered the first to master the Rococo style and include it in his works and designs. Little else is known of his life: he was a disciple 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 presented at the top 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 endowed any of the animals or plants with meaning (the golden pheasant was a symbol of the Emperor, and that of this dish has no yellow in its plumage). Chinese porcelain was already known in Europe in the fifteenth century, but its commercial boom came from the XVI, with the well-known pieces in Blue and White so valued that they even inspired the local pottery of the different kingdoms. As for the so-called "Pink Family" due to 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 its production continued until the 19th century. In addition, it became so valued that it displaced the Green Family in European courts at some times, with the works of the reigns of Emperors Yongzhen (1678-1735) and Qianlong (1711-1799) as the most abundant and highly appreciated and sought for its great quality. Stylistically, these two plates inserted in the mirrors are very similar to works of the Pink Family made at the end of the reign of Emperor Yongzheng or at the beginning of 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 and on a stone practically the same as these two examples. Note that you can see the decorated edge of them, hidden almost entirely by the golden wood."


· Size: 100x68x12 cms.

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