Mirror
1762-1765 (made)
| Artist/Maker | |
| Place of origin |
Object Type
Although described as a mirror, this piece doubles as a girandole or sconce, with three arms to support candles. The mirror glass reflects the candlelight to increase the volume of light. Earlier sconces had metal backplates which also reflected artificial light. Here, the girandole frame has become a vehicle for elaborate Rococo carving, with flowers, leaves, bullrushes and birds (cranes). The gilded carved surfaces also reflect candlelight.
Design & Designing
This mirror is very similar to designs for glass frames published by Thomas Chippendale (1718-1779) in the third edition of The Gentleman and Cabinet-Maker's Director (1762) as plates 167 and 168. Outlandish crane-like birds also feature in his design for 'girendoles', plate 178, which is dated 1760. Chippendale engaged a team of engravers to prepare his designs for publication, thus each of these three by him was engraved by a different hand (W. Foster, M. Darly and B. Clowes).
Materials & Making
Large sheets of plate glass were imported from France at this date. The complex design of this mirror incorporates both smaller and larger sections of glass. For the smaller sections, offcuts from larger pieces could be used, thus making the most of this expensive material.
Although described as a mirror, this piece doubles as a girandole or sconce, with three arms to support candles. The mirror glass reflects the candlelight to increase the volume of light. Earlier sconces had metal backplates which also reflected artificial light. Here, the girandole frame has become a vehicle for elaborate Rococo carving, with flowers, leaves, bullrushes and birds (cranes). The gilded carved surfaces also reflect candlelight.
Design & Designing
This mirror is very similar to designs for glass frames published by Thomas Chippendale (1718-1779) in the third edition of The Gentleman and Cabinet-Maker's Director (1762) as plates 167 and 168. Outlandish crane-like birds also feature in his design for 'girendoles', plate 178, which is dated 1760. Chippendale engaged a team of engravers to prepare his designs for publication, thus each of these three by him was engraved by a different hand (W. Foster, M. Darly and B. Clowes).
Materials & Making
Large sheets of plate glass were imported from France at this date. The complex design of this mirror incorporates both smaller and larger sections of glass. For the smaller sections, offcuts from larger pieces could be used, thus making the most of this expensive material.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Carved and gilded pine, mirror glass and brass |
| Brief description | Mirror (pier glass) of rococo form, with carved and gilded frame carved as C and S scrolls, palms, flowers and two long-beaked birds |
| Physical description | Mirror in frame of carved gilt wood, formed of symmetrical scroll-work with flowers, leaves, two cranes and rococo ornament, the whole surmounted by a vase of flowers. At the base are three scrolled candle-branches. |
| Dimensions |
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| Gallery label | British Galleries:
This mirror frame is very close to some of Chippendale's published designs. It may have been made in his workshop, or by another highly-skilled carver taking ideas from his designs. Carvers routinely varied details of a design as they worked. In his notes to another design, Chippendale advised that 'A skilful Carver may, in the Execution of this and the following Designs, give full Scope to his Capacity'.(27/03/2003) |
| Object history | Acquired in the sale of the collection of Ralph Bernal, Christie's, London, 5 March 1855, along with 2387-1855. The pair to this mirror (sold with it at the Bernal Sale) is now in a private collection and was exhibited as cat. no. 2.1 in the tercentenary exhibition 'Thomas Chippendale 1718-1779. A Celebration of British Craftsmanship and Design', held at Leeds City Museum, February to June 2018. That mirror is missing the vase cresting and the uppermost foliage behind the birds. In 1934 Oliver Brackett suggested that the pair of mirrors were those that Chippendale supplied to the Duke of Portland in 1766 ('two very large oval glasses..... with three branches for candles') but this provenance is no longer deemed correct (see article by Leela Meinertas, 2015, under references). It does, however, seem possible to attribute the mirror to Chippendale, even though its provenance is unknown. On display in the British Galleries since 2001. |
| Subjects depicted | |
| Association | |
| Summary | Object Type Although described as a mirror, this piece doubles as a girandole or sconce, with three arms to support candles. The mirror glass reflects the candlelight to increase the volume of light. Earlier sconces had metal backplates which also reflected artificial light. Here, the girandole frame has become a vehicle for elaborate Rococo carving, with flowers, leaves, bullrushes and birds (cranes). The gilded carved surfaces also reflect candlelight. Design & Designing This mirror is very similar to designs for glass frames published by Thomas Chippendale (1718-1779) in the third edition of The Gentleman and Cabinet-Maker's Director (1762) as plates 167 and 168. Outlandish crane-like birds also feature in his design for 'girendoles', plate 178, which is dated 1760. Chippendale engaged a team of engravers to prepare his designs for publication, thus each of these three by him was engraved by a different hand (W. Foster, M. Darly and B. Clowes). Materials & Making Large sheets of plate glass were imported from France at this date. The complex design of this mirror incorporates both smaller and larger sections of glass. For the smaller sections, offcuts from larger pieces could be used, thus making the most of this expensive material. |
| Bibliographic references |
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| Collection | |
| Accession number | 2388-1855 |
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| Record created | March 27, 2003 |
| Record URL |
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