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拍品专文
This George II mirror demonstrates the increasingly rococo influence adopted by carvers in England in the late 1730s. Daniel Marot included a design for an oval mirror with a plumed mask cresting in his Nouveaux Livre d'Ornaments Lutillite des Sculpteurs et Orfevres, circa 1700 and the same device and the sanded border are features associated with `Kentian’ frames. A related mirror designed by William Kent and carved by Benjamin Goodison for Frederick Prince of Wales is in the collection of the Victoria and Albert Museum, London, and another from Ditchley Park, Oxfordshire, seat of the Earls of Litchfield, remodelled by Henry Flitcroft in the 1730s, is illustrated in Ralph Edwards, Dictionary of English Furniture, rev.ed., London, 1954, vol. II, p.337, fig. 67.
In the present lot the mask bears comparison with the oeuvre of James Moore the elder whose premises were 'against the Golden bottle' in Shorts Gardens, St. Giles-in-the-Fields and who became cabinet-maker to George I and the Prince of Wales, later George II. Moore was undoubtedly influenced by contemporary designs from France disseminated through the works of Marot and of Jean, René and Thomas Pelletier (T. Murdoch, 'Jean, René and Thomas Pelletier, a Huguenot family of carvers and gilders in England 1682-1726 - Part I', The Burlington Magazine, November 1997, p. 738, fig. 11), and by William Kent (d.1748). Moore died in 1726 to be succeeded as Royal cabinet-maker by James Goodison, while James Moore junior continued the family business.
The highly naturalistic form of the rushes that wreath the frame are consistent with the emerging rococo fashion. A mirror featuring featuring the Diana mask and rushes and bearing the cypher of the 1st Duke of Richmond is one of a group of three at Goodwood House, Sussex (see R. Edwards, The Shorter Dictionary of English Furniture, London, 1964, p. 365, fig, 45), another is illustrated in G.Wills, English Looking-Glasses, London, 1965, p. 85, fig. 56.