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Lot Essay
The exceptional quality and large scale of this pair of mirrors and consoles is characteristic of the furniture made for the Portuguese court and high aristocracy. Stylistically, they are not too dissimilar from carved and giltwood examples produced in Italy and most particularly in Venice at the same period. It is interesting to note that while boiseries did not exist in Portugal, monumental and lavishly carved pier-glasses such as the ones here offered were very highly fashionable. From the middle of the 18th century, they progressively replaced the tiles (azulejo) which were used earlier as wall decoration in the important rooms.
The opulence and scale of these consoles and mirrors reflects the richness and wealth of the artistic production following the economic prosperity under the reign of King John V (1706-1750). Resulting mainly from successeful trade of goods, such as gold and diamonds which were brought from Brazil, this wealth was certainly an influence on the lavish style of furniture produced around the mid-18th century. This rocaille style continued to be favoured and reached its apogee under the reign of King Joseph I (1750-1777).
Various related consoles and mirrors are conserved in the royal palace of Queluz near Lisbon. One of them, of slightly later date, displayed in the music room is described in the 1776 inventory; while another related example is the Fondation Ricardo Do Espirito Santo Silva in Lisbon.
The opulence and scale of these consoles and mirrors reflects the richness and wealth of the artistic production following the economic prosperity under the reign of King John V (1706-1750). Resulting mainly from successeful trade of goods, such as gold and diamonds which were brought from Brazil, this wealth was certainly an influence on the lavish style of furniture produced around the mid-18th century. This rocaille style continued to be favoured and reached its apogee under the reign of King Joseph I (1750-1777).
Various related consoles and mirrors are conserved in the royal palace of Queluz near Lisbon. One of them, of slightly later date, displayed in the music room is described in the 1776 inventory; while another related example is the Fondation Ricardo Do Espirito Santo Silva in Lisbon.