CIRCA 1755, POSSIBLY BY WILLIAM AND JOHN LINNELL AFTER A DESIGN BY MATTHIAS LOCK

These magnificent mirrors, or girandoles, are inspired by the designs of Matthias Lock (1710-65): see a sketch for a sconce by Lock, held in the Victoria & Albert Museum, London, which is of closely related form (2848_48), and plate 3 of Lock’s Six Sconces (1744) - a pier glass surmounted by an eagle with outspread wings (E. White, Pictorial Dictionary of British 18th Century Furniture Design, Woodbridge, 1990, p. 325). An attribute of Jupiter, king of the gods in Roman mythology, the eagle as a motif is prevalent throughout the designs of William (c. 1703-63), and John Linnell (1729-96). These girandoles were possibly made by the Linnell firm: see designs held in the Victoria & Albert Museum (illustrated H. Hayward, P. Kirkham, William and John Linnell: Eighteenth Century London Makers, London, 1980, vol. I, p. 41, fig. 3; vol. II, p. 5, fig. 9; p. 97, fig. 185; p. 107, fig. 208; p. 121, fig. 233). Thomas Chippendale also included this motif on designs for overmantel mirrors and tabernacle frames in the third edition of his Director (1762), plates CLXXXII, CLXXXIII, CLXXXVII. Their overall form also relates to a pair of cartouche-shaped girandoles by France and Bradburn supplied to Sir Lawrence Dundas for 19 Arlington Street, London in 1764 (sold Christie’s, London, 9 July 2015, lot 155).
One of these girandoles, together with a matching pier glass, was illustrated by the renowned furniture historian R.W. Symonds in his article entitled ‘Candle Lighting in the 18th Century’ (Antique Collector, April 1952, p. 57, fig. 10). In 1952, this girandole had an additional carved giltwood hoho bird, which is now missing.