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Lot Essay
MATTHIAS LOCK - 'THE BEST ORNAMENT DRAUGHTS-MAN IN EUROPE'
The mirror pattern designed in the George II French 'picturesque' manner, can be credited to the carver Matthias Lock (d. 1765), whose early work was carried out for James Whittle (d. 1759), 'Carver' to Frederick, Prince of Wales (d. 1752). Among Lock's most important work at this time was the commission for the 2nd Earl Poulett of Hinton House, Somerset, soon after he succeeded to the title in 1734. This included elaborate and expensive tables, mirrors and candle stands, designs for which survive in the collection of the Victoria and Albert Museum, London (G.Beard and C.Gilbert, Dictionary of English Furniture Makers 1660 - 1840 , Leeds, 1986, pp. 551 - 552).
In 1745 Lock established his own workshops at Nottingham Court, Long Acre, recorded as being occupied by 'upwards of thirty men' ('Thomas Johnson, The Life of the Author', 1744, quoted in J.Simon, Furniture History, 2003, pp. 1-64). His publication of ornamental pattern-books in the French fashion, such as A New Book of Ornaments, Shields, Compartments, Masks, etc., 1740, had already gained him recognition and in 1744 he issued his patterns for sconce mirrors entitled Six Sconces. He was described by his contemporary Thomas Johnson, as 'the famous Matthias Lock, a most excellent Carver and reputed to be the best Ornament draughts-man in Europe' (op.cit, p.3).
The overall form of the present mirror corresponds closely to the fully realised rococo mirror represented in plate 2 in Six Sconces, in particular a certain massive quality and the distinctive upper S-scrolls bordering serpentine panels.
In 1752, in partnership with the silver engraver Henry Copland (d. 1753), Lock published further designs in A New Book of Ornaments. In this expanded collection, Lock developed his earlier designs and introduced new features and idiosyncracies. The mirrors were composed of several frames, one within or above another, and incorporated dragons, exotic birds or Chinese figures
It is no coincidence that in 1754 Thomas Chippendale, younger than Lock by some eight years, issued his first edition of The Gentleman and Cabinet-Maker's Director, which explicitly promoted the Chinese taste. Drawings by Chippendale are among Lock's papers held at the Victoria and Albert Museum, and it is likely that Chippendale was Lock's employer at the time, Lock supplying supplying drawings for The Director, while Chippendale popularised and fully exploited the inspiration and abilities of the older man.
The mirror pattern designed in the George II French 'picturesque' manner, can be credited to the carver Matthias Lock (d. 1765), whose early work was carried out for James Whittle (d. 1759), 'Carver' to Frederick, Prince of Wales (d. 1752). Among Lock's most important work at this time was the commission for the 2nd Earl Poulett of Hinton House, Somerset, soon after he succeeded to the title in 1734. This included elaborate and expensive tables, mirrors and candle stands, designs for which survive in the collection of the Victoria and Albert Museum, London (G.Beard and C.Gilbert, Dictionary of English Furniture Makers 1660 - 1840 , Leeds, 1986, pp. 551 - 552).
In 1745 Lock established his own workshops at Nottingham Court, Long Acre, recorded as being occupied by 'upwards of thirty men' ('Thomas Johnson, The Life of the Author', 1744, quoted in J.Simon, Furniture History, 2003, pp. 1-64). His publication of ornamental pattern-books in the French fashion, such as A New Book of Ornaments, Shields, Compartments, Masks, etc., 1740, had already gained him recognition and in 1744 he issued his patterns for sconce mirrors entitled Six Sconces. He was described by his contemporary Thomas Johnson, as 'the famous Matthias Lock, a most excellent Carver and reputed to be the best Ornament draughts-man in Europe' (op.cit, p.3).
The overall form of the present mirror corresponds closely to the fully realised rococo mirror represented in plate 2 in Six Sconces, in particular a certain massive quality and the distinctive upper S-scrolls bordering serpentine panels.
In 1752, in partnership with the silver engraver Henry Copland (d. 1753), Lock published further designs in A New Book of Ornaments. In this expanded collection, Lock developed his earlier designs and introduced new features and idiosyncracies. The mirrors were composed of several frames, one within or above another, and incorporated dragons, exotic birds or Chinese figures
It is no coincidence that in 1754 Thomas Chippendale, younger than Lock by some eight years, issued his first edition of The Gentleman and Cabinet-Maker's Director, which explicitly promoted the Chinese taste. Drawings by Chippendale are among Lock's papers held at the Victoria and Albert Museum, and it is likely that Chippendale was Lock's employer at the time, Lock supplying supplying drawings for The Director, while Chippendale popularised and fully exploited the inspiration and abilities of the older man.