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Lot Essay
These magnificent pier glasses can be firmly attributed to William Mathie of Cockenzie (fl. 1733-60) based on a combination of stylistic features. Foremost are the carved finials representing ‘antique’ ewers filled with flowers and foliage, ornamentation found on a looking-glass made by Mathie for William Crichton-Dalrymple, 5th Earl of Dumfries (d. 1768), for one of the principal bed chambers at Dumfries House, Ayrshire (F. Bamford, ‘A Dictionary of Edinburgh Wrights and Furniture Makers 1660-1840’, Furniture History, vol. 19, 1983, pl. 14). In 1759, Mathie was commisioned to supply for Dumfries House a series of mirrors to complement those already supplied by Thomas Chippendale (d. 1779). These were directly influenced by the latter's patterns published in the 1st and 2nd editions of his Gentleman and Cabinet-Maker's Director (1754, 1755), and some designs of this period feature vase finials although specifically not flower-filled ewers, which may be unique to Mathie (T. Chippendale, The Gentleman and Cabinet-Maker's Director, 2nd edition, 1755, plates CXLIII, CXLVI).
In addition the overall form, notably the exaggerated waisted outline corresponds to the Dumfries mirror while the manner in which the carved naturalistic foliage sinuously entwines the scrollwork frame, culminating in extravagant 'C’ scrolls and the distinctive rocaille work on the upper section of the inner glass also appear to conform to Mathie's oeuvre.
The present mirror incorporates earlier plates, a characteristic that is seen frequently in Mathie's work, such as the pier glass in Lady Bute's Upstairs Bedroom at Dumfries, an idiosyncratic and not insignificant link, which strengthens the attribution (Christie's catalogue, Dumfries House, 13 July 2007, lot 240).
WILLIAM MATHIE
William Mathie was the son of a merchant in Cockenzie on the Firth of Forth, an important port in the Scottish timber trade, a business in which his father may well have been involved (F. Bamford, ‘Two Scottish Wrights at Dumfries House’, Furniture History, vol. 9, 1973, pp. 85-87). This likely exposure to the trade, and to its clientele, probably influenced his choice of career. Between 1733 and 1739 he was apprenticed to the Edinburgh wright Alexander Peter, however he was not to become a burgess and guild-brother until 1760, and during the intervening years he continued to work as a journeyman for Peter. Although Mathie's elevation to the status of burgess was late, it does not seem to have impeded his career, as in the interim he was able to take commissions and bill for them in his own name whilst still in the employ of Peter. This independence was extremely unusual and contravened the accepted practices of the guild-brethren. From 1757-58 Mathie is recorded as having completed a chimneypiece under John and James Adam for the Duke of Argyll at Inveraray Castle, Argyll. However, it was in the following year that he would begin his best known commission, for the 5th Earl of Dumfries at Dumfries House, Ayrshire, whilst still working for Peter and where he is recorded as issuing two bills totalling £325.16s. The Dumfries commission showed the wide scope of his abilities as a carver, and the designs he executed brilliantly drew together the fashionable foliate, rocaille and chinoiserie motifs of the Rococo, with the Dumfries thistle and the Crichton Wyvern. In two mirrors he incorporated the badge of the Order of the Thistle (Christie's sale catalogue, Dumfries House, vol. I, London, 12-13 July 2007, pp. 42-43).
FOLIEJON PARK
One of the pair of mirrors offered here was photographed in the Hall at Foliejon Park, Berkshire on 18 October 1938. In this period until late 1952 the mansion was owned by Claude Moss Leigh, a property manager and horse-racing fanatic. The mirrors were almost certainly sold at the same time as the house to T.H. Lawley, the London glass and china retailer, possibly as fixtures as they do not appear in Leigh’s sale of the mansion’s furnishings (Knight, Frank & Rutley, 18-29 October 1952). They probably remained with the house when it changed hands yet again in 1957, sold to the M.C.P. Group. Intriguingly, the Blane family, owners of Foliejon for four generations from the early 19th century until 1934 were Scottish, and it may be this family who introduced the Mathie mirrors to Foliejon.
In addition the overall form, notably the exaggerated waisted outline corresponds to the Dumfries mirror while the manner in which the carved naturalistic foliage sinuously entwines the scrollwork frame, culminating in extravagant 'C’ scrolls and the distinctive rocaille work on the upper section of the inner glass also appear to conform to Mathie's oeuvre.
The present mirror incorporates earlier plates, a characteristic that is seen frequently in Mathie's work, such as the pier glass in Lady Bute's Upstairs Bedroom at Dumfries, an idiosyncratic and not insignificant link, which strengthens the attribution (Christie's catalogue, Dumfries House, 13 July 2007, lot 240).
WILLIAM MATHIE
William Mathie was the son of a merchant in Cockenzie on the Firth of Forth, an important port in the Scottish timber trade, a business in which his father may well have been involved (F. Bamford, ‘Two Scottish Wrights at Dumfries House’, Furniture History, vol. 9, 1973, pp. 85-87). This likely exposure to the trade, and to its clientele, probably influenced his choice of career. Between 1733 and 1739 he was apprenticed to the Edinburgh wright Alexander Peter, however he was not to become a burgess and guild-brother until 1760, and during the intervening years he continued to work as a journeyman for Peter. Although Mathie's elevation to the status of burgess was late, it does not seem to have impeded his career, as in the interim he was able to take commissions and bill for them in his own name whilst still in the employ of Peter. This independence was extremely unusual and contravened the accepted practices of the guild-brethren. From 1757-58 Mathie is recorded as having completed a chimneypiece under John and James Adam for the Duke of Argyll at Inveraray Castle, Argyll. However, it was in the following year that he would begin his best known commission, for the 5th Earl of Dumfries at Dumfries House, Ayrshire, whilst still working for Peter and where he is recorded as issuing two bills totalling £325.16s. The Dumfries commission showed the wide scope of his abilities as a carver, and the designs he executed brilliantly drew together the fashionable foliate, rocaille and chinoiserie motifs of the Rococo, with the Dumfries thistle and the Crichton Wyvern. In two mirrors he incorporated the badge of the Order of the Thistle (Christie's sale catalogue, Dumfries House, vol. I, London, 12-13 July 2007, pp. 42-43).
FOLIEJON PARK
One of the pair of mirrors offered here was photographed in the Hall at Foliejon Park, Berkshire on 18 October 1938. In this period until late 1952 the mansion was owned by Claude Moss Leigh, a property manager and horse-racing fanatic. The mirrors were almost certainly sold at the same time as the house to T.H. Lawley, the London glass and china retailer, possibly as fixtures as they do not appear in Leigh’s sale of the mansion’s furnishings (Knight, Frank & Rutley, 18-29 October 1952). They probably remained with the house when it changed hands yet again in 1957, sold to the M.C.P. Group. Intriguingly, the Blane family, owners of Foliejon for four generations from the early 19th century until 1934 were Scottish, and it may be this family who introduced the Mathie mirrors to Foliejon.