Lot 394 D α

Rococo in Perfection



This extraordinary pair of mirrors can be used as an example to explain the stylistic elements by which we define Rococo: Asymmetry, flowing lines, amorphous forms, deception of the eyes. A bizarre shell shape is overlaid with flowers, branches and reeds. Starting in France, where the young Louis XV saw himself in the design tradition of his great-grandfather Louis XIV, i.e. wanted to propagate his own style, a new biomorphic asymmetry developed from the symmetry of baroque elements. In southern Germany, in Bavaria and Franconia, in Würzburg and Bamberg, this new style reached a particular climax. Armies of decorators and carpenters were employed by the sovereigns to furnish castles and churches with illusionistic painting, expansive stuccowork and furniture that was curved, veneered and carved at the same time.

At first glance, these two wall mirrors also appear as if they had been produced in southern Germany, for example for Seehof castle.

But their design shows elements of the designs of Matthias Lock (c. 1710 - c. 1765). Lock was an English furniture designer and practising cabinetmaker. He became known through the publication of his designs and those of Henry Copeland (c. 1710 - 1754) in "A New Book of Ornaments with Twelve Leaves Consisting of Chimneys, Sconces, Tables, Spandle Panels, Spring Clock Cases, Stands, a Chandelier and Girandole, etc.", published in London in 1752. These designs were enthusiastically received by designers and craftsmen mainly in England, Flanders and the Netherlands. They did not always copy accurately, but were often merely inspired, depending on the premises for which the object was intended and what the client had in mind. The attribution to Amsterdam is based on similar generous cartouche motifs overlaid with flowers, which can be found, for example, in the holdings of the Rijksmuseum. Typical of Dutch candlesticks are the twisted branches that support the nozzles and drip pans.