Beschreibung:

AN EARLY GEORGE III CARVED PINE AND CARTON PIERRE WALL MIRROR CIRCA 1760 The frame carved with acanthus carved C-scrolls, the cresting with confronting acanthus carved C scrolls, the shaped apron centred by a flowerhead approximately 282cm high, 132cm wide Provenance: The Lower Library, Stoke Edith House, Herefordshire Possibly the Messel Family collection at Nymans Thence by descent to Oliver Messel until supplied to Frederick Baden Watkins for Flaxley Abbey This painted multi-plated mirror with acanthus-carved foliate scrolls bears a label on the back, which reads: 'Saved from fire at Stoke Edith Mansion- Herefordshire' and 'carved by ladies of mansion during winter evenings 18th C'. Although there are few records of women undertaking woodcarving as a genteel pursuit in the 18th century, Elizabeth Creed of Canons Ashby, Northamptonshire, is known to have practised this art in the 1720s, and it became evermore popular in the 19th century (N. Riley, The Accomplished Lady: A \History of Genteel Pursuits c. 1660-1860, Plymouth, 2017, pp. 394-395). A near-identical mirror, possibly the same but with carving missing, was photographed in the Lower Library at Stoke Edith in the early 20th century (Historic England BB87/10404). The mirror is typical of the mid-18th century. The model probably derives from Continental rococo designs by architect-designers like François de Cuvilliés the Elder, published in Livres de Lambris, c. 1738. Some of the first English rococo designers to introduce multi-plated foliate-carved mirrors were James Whittle, 'the famous Matthias Lock a most excellent Carver, and reputed to be the best Ornament draughts-man in Europe' and Thomas Johnson By the 1740s-50s, the creation of the largest rococo mirrors was a complicated process. Mirror plates of different shapes and sizes were retained by carved sub-frames, which linked the whole design both structurally and visually. According to Robert Campbell 'There are a set of Joiners who make nothing but Frames for Looking-Glasses and Pictures, and prepare them for the Carvers. This requires but little Ingenuity or Neatness, as they only join the Deals roughly plained, in the Shape and Dimensions in which they are required... The Frame-Maker sends the Frame thus prepared to the Carver: For there are a Class of Carvers who do nothing else but carve Frames for Looking-Glasses. There are two Sorts of Carving upon these kind of Frames: One Sort of them is carved in the Wood entirely, and is designed to be painted or gilded with Burnish-Gold: In the other, the Figures are first roughly cut out in the Wood, then the whole is covered with two or three Coats of Whiting with a Brush, then finishes his Figures, by making such Flourishes in the Whiting as is agreeable to his Pattern' (R. Campbell, The London Tradesman, London, 1747, p. 174). Condition Report: (damaged, formerly gilt, restored) Condition Report Disclaimer