PAIR OF GILTWOOD MIRRORS. ROCOCO, 18TH CENTURY.

Pair of cornucopias. Carved and gilded wood and porcelain. Century XVIII. Pair of cornucopias with mirror, practically identical (except for details on the frame leaves), made of 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 starts from some grotesques in the lower part, from which plant elements emerge that extend, accompanied by hangings, towards the upper part on the sides, with openwork details. Above, the crests have separate circular spaces, flanked by birds perched with their wings partly extended, and surrounded by elaborate frames that, like the rest of the pieces, have architectural elements (volutes, smooth oval mirrors...), plant elements and shapes reminiscent of Rococo rockeries. Clearly, the examples are included within the Rococo, even taking into account the slight asymmetry that their decorative motifs present 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, ca. 1710-ca. 1765). Compare with engravings from “A New Book of Ornaments with Twelve Leaves Consisting 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 of New York, drawings from 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 else is known about 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 at the top show a pheasant placed on a rock and among chrysanthemums and other flowers, in a common composition in this type of objects, made in China for export to Europe and, therefore, without have given meaning to any of the animals or plants (the golden pheasant was a symbol of the Emperor, and the one on this plate does not have yellow in its plumage). Chinese porcelain was already known in Europe in the 15th century, but its commercial boom occurred in the 16th century, with the well-known Blue and White pieces so valued that they even inspired the local ceramics of the different kingdoms. As for the so-called “Pink Family” due to the predominance of this tone in its enamel, 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. Furthermore, it became so valued that it displaced the Green Family in European courts at times, with the works from the reigns of the Yongzhen Emperors (1678-1735) and Qianlong (1711-1799) being the most abundant and highly appreciated. and sought after for their great quality. Stylistically, these two plates inserted in the mirrors are very similar to works by the Rose Family made at the end of the reign of Emperor Yongzheng or the beginning of that of Qianlong in Kingdezhen (Jiangxi, Republic of China) around approximately 1735. In fact, there are some plates 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 their decorated edge, almost entirely hidden by the gilded wood.

· Size: 100x68x12 cms.