A George III giltwood mirror circa 1765, attributed to Thomas Chippendale

the cartouche shaped frame with conjoined C-scrolls with carved palm fronds, floral garlands and ho-ho birds

Possibly one of the 'Two very large carved frames Gilt in Burnished Gold, with three branches for candles to each and brass pans, Noselles to Ditto' supplied by Thomas Chippendale to William Henry Cavendish-Bentinck, 3rd Duke of Portland and invoiced on 28th October 1766.
Catalogue of the celebrated collection of works of art from the Byzantine period to that of Louis Seize of that distinguished collector Ralph Bernal ... Messrs Christie & Manson at the Mansion No 93 Eaton Square, commencing on Monday March the 5th 1855, lot 4144.
With Messers A. Cook prior to 1965 (when published by G. Wills).
Acquired from M. Harris & Sons at the Antique Dealer's Fair, 21st June 1967.

Geoffrey Wills, English Looking Glasses, a study of the glass, frames and makers, (1670-1820),1965, London, p.100.

Comparative Literature:
Oliver Brackett, Thomas Chippendale, A Study of his life and influence, pp.238-9

 

This impressive mirror is in overall good condition. It has been re-gilt and the plates are largely later. There are minor repaired breaks to carving and minor losses to gilding. Originally with a candle arm. Ready to be placed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This magnificent wall mirror with its asymmetrical cartouche form frame formed by conjoined C-scrolls embellished with garlands of natural flowers and ho-ho birds was conceived at the height of the taste for rococo decoration  in mid 18th century England. The design clearly illustrates the gaiety and abandoned form of this style, the roots of which were formed in France, Germany and Italy in the second decade of the century by such designers as Jean Berain and Bernard Toro, who was perhaps the first to use free flowing asymmetrical cartouches albeit with more Baroque decorative elements. In England these new forms were probably first interpreted as a form of adornment by silversmiths, many of whom were of French Huguenot extraction, and who were clearly influenced by their French contemporaries such as Meissonier, and the work of Jacques Caffieri, whose gilt bronze mounts adorned and complemented many of the more extravagant creations of the Maitre Ebenistes of Paris in the second quarter of 18th century.

Furniture designs before 1740 were strongly Baroque or Palladian in character, the influence of Burlington and Kent being paramount. Although natural elements such as flowers and leaves were used, they were strong in character and were applied to far more architectural and rigid forms. Thomas Chippendale in his The Gentleman and Cabinet-maker`s Director', 1762 included designs for mirrors. and elements of the present mirror can be seen in plates CLXVIII, CLXXII of those designs illustrated in Elizabeth White, Pictorial Dictionary of British 18th Century Design, 1990, pp. 336-7. 

The present mirror is known to be originally one of a pair. The pair was formerly in the collection of the distinguished collector Ralph Bernal whose collection was sold by Christie & Manson in 1855. Bernal was Member of Parliament (MP) for Lincoln 1818 to 1820 and MP for Rochester from 1820 to 1841 and again from 1847 to 1852. From 1842 to 1847 he was MP for Weymouth and Melcombe Regis.  He was a prolific collector of glass, plate, ceramics and miniatures; his fortune derived from estates in the West Indies which he had inherited in 1810. He was president of the British Archaeological Society in 1853. He died in 1853 and his collection which then comprised over 4000 lots was sold from the premises of his residence 93 Eaton Square, London, in 1855.

 The present mirror and its pair were listed separately as lots 4143 and 4144. Lot 4143 was bought by the Museum of Ornamental Art, later the Victoria and Albert Museum, and now continues to form part of that collection ( ref.  2387-1855). 

Sadly no prior provenance was listed in the 1855 sale catalogue for these mirrors but it was suggested by Oliver Bracket in Thomas Chippendale, A study of his life and influence, 1924, p.238 that the present mirror and its pair were the  'Two very large carved frames Gilt in Burnished Gold, with three branches for candles to each and brass pans, Noselles to Ditto' supplied by Thomas Chippendale to William Henry Cavendish-Bentinck, 3rd Duke of Portland and invoiced on 28th October 1766. Christopher Gilbert in The Life and Work of Thomas Chippendale, 1978, 2 vols., Vol. I, p.194 suggests that these two mirrors were ordered for Burlington House, where by favour of his father-in-law, the Duke of Devonshire, the 3rd Duke of Portland lived after his marriage in 1766. However it is doubtful whether this can be substantiated as it seems that there was confusion in the Victoria and Albert Museum catalogue which did not recognise that the present mirror and another mirror bought in the same sale by the Victoria and Albert museum were both originally pairs.

 For comparison see Sotheby`s New York, Tom Devenish: The Collection, 24th April 2008, lot 41, for a pair of mirrors of smaller scale but related design. See also Christie`s New York, Important English Furniture, 27th October 2006, lot 92.