A GEORGE III GILTWOOD PIER GLASS

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THE PROPERTY OF THE LATE DOWAGER LADY INCHYRA, SOLD BY ORDER OF THE EXECUTORS (LOTS 143-146)

細節

A GEORGE III GILTWOOD PIER GLASS
The rectangular plate in a twisted-ribbon slip and eared mirrored border divided by palmettes, with an urn cresting issuing acanthus and laurel scrolls, the sides hung with further laurel swags, with a pierced acanthus-scrolled apron flanked on each side by a laurel-swagged plinth supporting a flaming urn, the backboards replaced, regilt and with traces of original gilding, restorations to the peripheral carving
114 x 55¾ in. (289.5 x 141.5 cm.)

注意事項

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

拍場告示

Literature for this mirror:
A. Rowan, 'Inchyra House, Perthshire', Country Life, 13 February 1969, p. 345 (shown in situ in the Dining-Room).

拍品專文

The urn-capped frame has laurel-festooned Roman acanthus husks corresponding to those of a pier-glass pattern featured in Robert and James Adam's, Works in Architecture, 1774, vol. II, pl. VIII (P. Ward-Jackson, English Furniture Designs of the Eighteenth Century, London, 1958, fig 229). Thomas Chippendale introduced festoons in his overmantel frame design for a painting at Nostell Priory, Yorkshire, while the base plinths with laurel-festooned patterae relate to an Adam design for Derby House, London.
A related urn-capped and festooned pier glass, with similar eared 'architectural' and volute-scrolled corners, also appeared in a Matthew Darly etching dated 1770 (ibid., fig. 257).
The ribbon-ties are very much in the manner of John Linnell as seen in his drawings at the Victoria and Albert Museum, London.