Mirror
1780-1790 (made)
Artist/Maker | |
Place of origin |
Object Type
The form of this mirror-chandelier consists of a candelabrum without base, mounted onto a mirror backing to increase the brilliance of the illumination.
Time
Most of the important elements of the Neo-classical style - so popular among Irish artists and craftsmen in the last quarter of the 18th century - are embodied in this object. Glass urn-shapes and swags are framed by an oval mirror surrounded by coloured glass pastes, offering excellent lighting characteristics as well as the elegance of the 'Adam' style. No doubt it was destined for one of the great houses of Ireland.
Design & Designing
This object represents the sucessful combination of Irish glass-making, British design and probably German glass-cutting, the contribution of John D. Ayckbowm. A rather similar signed example (in the Cecil Higgins Art Gallery & Museum, Bedford) bears his name. Ayckbowm was a glass-cutter of German extraction whose family had been established in London as early as the 1740s, later continuing as cutters and glass retailers in Dublin from 1783 to 1820.
The form of this mirror-chandelier consists of a candelabrum without base, mounted onto a mirror backing to increase the brilliance of the illumination.
Time
Most of the important elements of the Neo-classical style - so popular among Irish artists and craftsmen in the last quarter of the 18th century - are embodied in this object. Glass urn-shapes and swags are framed by an oval mirror surrounded by coloured glass pastes, offering excellent lighting characteristics as well as the elegance of the 'Adam' style. No doubt it was destined for one of the great houses of Ireland.
Design & Designing
This object represents the sucessful combination of Irish glass-making, British design and probably German glass-cutting, the contribution of John D. Ayckbowm. A rather similar signed example (in the Cecil Higgins Art Gallery & Museum, Bedford) bears his name. Ayckbowm was a glass-cutter of German extraction whose family had been established in London as early as the 1740s, later continuing as cutters and glass retailers in Dublin from 1783 to 1820.
Object details
Categories | |
Object type | |
Materials and techniques | Cut glass |
Brief description | Part of chandelier. See Object File for description and location of glass sections of chandelier.; GO |
Physical description | Oval mirror with border of large, clear, faceted jewels. In front of the mirror, a cut glass wall-light, suspended by three ropes of alternating glass bells and rods. It comprises a half-circle loop of faceted glass on which are placed two S shaped candle-arms and three cut-glass spires with serrated edges topped by finials in the form of urns. Beneath the half-circle rim are two loops of cut-glass beads suspended between three large pear-drops. The drip pans of the candle-arms and the canopies of the spires are also dressed with cut glass pear drops. |
Dimensions |
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Gallery label | British Galleries:
In the last twenty years of the 18th century Ireland developed a thriving glass industry, which supplied its own markets as well as those of Britain. Mirrors set with a cut glass chandelier were an Irish speciality. The Neo-classical style, with its emphasis on glitter and small-scale detail, was particularly suited to the decoration of cut-glass for lighting.(27/03/2003) |
Object history | Made in Ireland, possibly Dublin |
Summary | Object Type The form of this mirror-chandelier consists of a candelabrum without base, mounted onto a mirror backing to increase the brilliance of the illumination. Time Most of the important elements of the Neo-classical style - so popular among Irish artists and craftsmen in the last quarter of the 18th century - are embodied in this object. Glass urn-shapes and swags are framed by an oval mirror surrounded by coloured glass pastes, offering excellent lighting characteristics as well as the elegance of the 'Adam' style. No doubt it was destined for one of the great houses of Ireland. Design & Designing This object represents the sucessful combination of Irish glass-making, British design and probably German glass-cutting, the contribution of John D. Ayckbowm. A rather similar signed example (in the Cecil Higgins Art Gallery & Museum, Bedford) bears his name. Ayckbowm was a glass-cutter of German extraction whose family had been established in London as early as the 1740s, later continuing as cutters and glass retailers in Dublin from 1783 to 1820. |
Collection | |
Accession number | C.6-1974 |
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Record created | March 27, 2003 |
Record URL |
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