Mirror

Physical description

The original glass mirror plate is framed with a pierced bolection moulding carved at the top with winged putti emanating from flower heads with stylized acanthus foliage at the corners, at the bottom with a winged cherub head and at the sides with single putti climbing the pierced floral foliage. The inner and outer fillet of the frame is carved with laurel. The outer edge is carved and pierced with floral foliage - although much of the original carving on the proper side has been lost. The frame is surmounted by cresting with in the centre two putti flanking an auricular cartouche painted with the arms of Gough of Old Fallings Hall and Perry Hall, Staffordshire (gules on a fesse argent between three boar's heads couped or a lion passant azure). They hold above the cartouche a wreath of roses and are flanked by pierced acanthus scrollwork.
The later gilding has been dry stripped to reveal what appears to be the original silvered finish and gesso. Any details carved in the wood have not been recut in the gesso which gives the surface a smoothness. The glaze which prevented the silver leaf from tarnishing has been lost and much of the silver has blackened. The figurative elements have been painted with an aluminium paint.
The pierced bolection sections have been carved in four separate sections and nailed to separate concave backs. Each of the carved corners are mitred forming the central vein of an acanthus leaf. The cresting is constructed separately and attached to the top of the frame. An original iron hook survives lower proper right. A later iron brace across the top of the frame has holes for attachment which ingeniously coincide with the centre of carved roses.

Place of Origin

London, England (possibly, made)

Date

1665-1672 (made)

Artist/maker

unknown (production)

Materials and Techniques

Pine, carved and silvered, retaining traces of red glaze, later paint and gilding

Marks and inscriptions

With the arms of Gough of Old Fallings Hall and Perry Hall, Staffordshire

Dimensions

Height: 176.5 cm, Width: 117 cm, Depth: 16.5 cm

Object history note

The mirror was probably made for Sir Henry Gough (1649/50-1724) who was knighted by Charles II in 1678. It may date from before his marriage in 1672 to Mary Littleton of Pillarton, Staffordshire, as the armorials do not include those of his wife.

Historical significance: The technique of pierced carving, although commonly used for contemporary stands for cabinets, is less often found on looking glass frames of this date. The silvered frame is imitating the more luxurious examples, often veneered in ebony and mounted in embossed silver such as survive at Drayton House, Northamptonshire and Knole, Kent.
The carving reflects continental influences and use of engraved ornament. The motif of putti climbing the pierced foliage is perhaps inspired by the playing boys' tapestries produced at the Mortlake manufactory (ca.1670-80). The armorial cartouche with its grotesque masks at the top and bottom is inspired by the auricular style introduced to England by the goldsmith Adam van Vianen in ca. 1630. Silver frames were particularly associated with the portraits of Sir Peter Lely (d. 1682).
A similar example with both silvered and gilded decoration was shown at the Grosvenor House Fair, 1996 (see p.106 in the illustrated handbook). Another example incorporating the arms of Fisher of Packington, Warwickshire is in the Lady Lever Art Gallery.

Historical context note

Graham Child notes, in World Mirrors, 1650-1900, 1990, p.61, that 'mirrors of this period were not only gilded but also decorated with white gold or silver leaf and any putti figures were picked out in flesh tones. Since silver leaf was less resistant to climatic conditions than gold it was often varnished for protection. Over the years the varnish has turned giving a yellowish colour to the silvering. An alternative suggestion is that yellowish varnish was applied to give the effect of gold leaf which was more expensive. The difference between the two finishes would have been difficult to detect in the dimly-lit interiors of the period.'

Descriptive line

Looking glass with frame and cresting of wood carved in openwork, with scrolls and putti, and silvered. English, about 1670.

Labels and date

The arms are those of Gough of Old Fallings Hall, Staffordshire. The mirror was probably made for Sir Henry Gough (1649/50-1724), who was noted for his hospitality and learning; as the escutcheon does not include his wife's quarterings, it is probable that the mirror was made before his marriage in 1672. [1968]
The arms are those of Gough of Old Fallings Hall and Perry Hall, Staffordshire. The mirror was probably made for Sir Henry Gough (1649/50-1724).
[John Hardy] [1976]
MIRROR
ENGLISH; about 1670
Silvered and painted

The arms are those of Gough of Old Fallings Hall and Perry Hall, Staffordshire. The mirror was probably made for Sir Henry Gough (1649/50-1724). [pre October 2000]
British Galleries:
The combination of scrolled foliage and putti (winged infants) was a popular Restoration feature. It was inspired by many ornament prints published in Continental Europe. The original silver leaf finish on the foliage would have given the appearance of solid metal. In contrast, the putti were painted in flesh tones. [27/03/2003]

Production Note

The mirror may have been carved by a Dutch or Flemish carver working in London.

Materials

Pine

Techniques

Carving; Gilding; Painting (coating)

Subjects depicted

Flowers (plants); Putti; Coat of arms; Scrolls (motifs); Cartouche

Categories

Household objects; British Galleries

Collection code

FWK