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拍品專文
The prototype for the mirror frames was formerly in the collection of Viscount Leverhulme and illustrated in P. Macquoid, A History of English Furniture: The Age of Mahogany, 1906, p. 15, fig. 12.
The mirror design is derived from patterns executed in circa 1700 by royal cabinet-maker Daniel Marot in his Nouveaux Livre d'Ornaments pour L'utillite des Sculpteurs et Orfevres (see: P. Ward-Jackson, English Furniture Designs of the 18th Century, London, 1958, pl. 7). This design was adapted in the 1730s by William Kent, who displayed a similarly plumed mask on the Royal Barge supplied for Frederick, Prince of Wales in 1738. An oval mirror thought to have been designed by Kent and presently in the collection of the Victoria and Albert Museum, London shares this plumed mask cresting (R. Edwards, ed., The Dictionary of English Furniture, rev. edn., 1954, vol. II, p. 337, fig. 66). The Museum's mirror is attributed to the carver John Boson (d. 1743), who executed Kent's designs for the Prince of Wales at Kew Palace and for Lord Burlington at Chiswick House. A surviving invoice at Kew shows that Boson provided in 1733-1734 'A Rich Tabernacle' mirror for the drawing room at Kew with a floral frieze, festooned sides, a shell pediment and foliate base. Benjamin Goodison also worked at Kew and is thought to have supplied a mask-headed mirror with bullrush-carved sides for the Duke of Richmond at Goodwood (R. Edwards, op.cit., p. 338 fig. 70). Another similar was sold anonymously, Sotheby's, London, 15 November 1991, lot 50.
The mirrors date to the second quarter of the 19th century when Kentian designs enjoyed a revival. Three impressive tables of corresponding design were supplied by the carver and gilder William Cribbs to the 6th Duke of Devonshire at Chatsworth in 1834. One of these tables, signed and dated, is illustrated in C. Gilbert, ed., Pictorial Dictionary of Marked London Furniture 1700-1840, Leeds, 1996, p. 165, figs. 258-259.
The mirror design is derived from patterns executed in circa 1700 by royal cabinet-maker Daniel Marot in his Nouveaux Livre d'Ornaments pour L'utillite des Sculpteurs et Orfevres (see: P. Ward-Jackson, English Furniture Designs of the 18th Century, London, 1958, pl. 7). This design was adapted in the 1730s by William Kent, who displayed a similarly plumed mask on the Royal Barge supplied for Frederick, Prince of Wales in 1738. An oval mirror thought to have been designed by Kent and presently in the collection of the Victoria and Albert Museum, London shares this plumed mask cresting (R. Edwards, ed., The Dictionary of English Furniture, rev. edn., 1954, vol. II, p. 337, fig. 66). The Museum's mirror is attributed to the carver John Boson (d. 1743), who executed Kent's designs for the Prince of Wales at Kew Palace and for Lord Burlington at Chiswick House. A surviving invoice at Kew shows that Boson provided in 1733-1734 'A Rich Tabernacle' mirror for the drawing room at Kew with a floral frieze, festooned sides, a shell pediment and foliate base. Benjamin Goodison also worked at Kew and is thought to have supplied a mask-headed mirror with bullrush-carved sides for the Duke of Richmond at Goodwood (R. Edwards, op.cit., p. 338 fig. 70). Another similar was sold anonymously, Sotheby's, London, 15 November 1991, lot 50.
The mirrors date to the second quarter of the 19th century when Kentian designs enjoyed a revival. Three impressive tables of corresponding design were supplied by the carver and gilder William Cribbs to the 6th Duke of Devonshire at Chatsworth in 1834. One of these tables, signed and dated, is illustrated in C. Gilbert, ed., Pictorial Dictionary of Marked London Furniture 1700-1840, Leeds, 1996, p. 165, figs. 258-259.