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Lot Essay
This mirror, with it's feathered plume mask, reflects the influence of Frederick, Prince of Wales (d. 1751). It is designed in the robust Roman manner introduced in the 1720s by the artist/architect William Kent (d. 1748) and promoted through his 'Office of Works'. Kent's appointment as 'Master Carpenter' to the Office of Works had instigated a remarkable collaboration with its 'Master Sculptor and Carver in Wood', the highly talented James Richards, to whom payments were made from around 1729. The sumptuous carving of the plumed mask with Prince of Wales' feathers could certainly be worthy of Richards' hand.
Like the Grendey side chair (lot 29), this mirror also has the rare distinction of having been owned by two of the greatest collectors of English furniture in the 20th Century, Percival D. Griffiths and Frederick Poke - both of whom were advised by R.W. Symonds.
A gilding analysis undertaken by Catherine Hassall of University College London showed five layers of gilding, the original being a very thin layer of white gesso, followed by oil gilding over a dull yellow oil size mixed from ochre and lead white.
Like the Grendey side chair (lot 29), this mirror also has the rare distinction of having been owned by two of the greatest collectors of English furniture in the 20th Century, Percival D. Griffiths and Frederick Poke - both of whom were advised by R.W. Symonds.
A gilding analysis undertaken by Catherine Hassall of University College London showed five layers of gilding, the original being a very thin layer of white gesso, followed by oil gilding over a dull yellow oil size mixed from ochre and lead white.