A George II carved giltwood pier mirror in the manner of Matthias Lock, circa 1745

re-gilt

In good conserved condition and of f an impressive scale with boldly carved detail. Re-gilt with deliberate areas of wear revealing the bole ground. Lower plate probably replaced. Minor chops and loses to the carved detail commensurate with age.
"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."

The present mirror combines an amalgam of elements derived from numerous designs published in the 1750s by a circle of leading exponents of the rococo style including Thomas Chippendale, Matthias Lock, William and John Linnell, and Thomas Johnson. Among these, perhaps the closest parallels are Matthias Lock's series of drawings for mirrors contained in his sketch-book which share the same distinctive bull-rush leaf decoration to the sides found on the offered lot (see P. Ward-Jackson, English Furniture Designs of the 18th Century, 1958, pls. 63-66). Matthias Lock appears to be one of a number of joiners and carvers from a family spanning three or more generations with the same surname and is thought to have been apprenticed to his father also Matthias, of the parish of St. Paul's, Shadwell in London. He then became a journeyman carver in about 1731, marrying Mary Lee at St. Paul's, Covent Garden in 1734. Little is known of his career in the following decade. However a number of Lock's drawings which were acquired by the Victoria and Albert Museum in 1862 and 1863 from George Lock of Edinburgh, his grandson, relate to an important commission in the 1740s. These include some sketches which are annotated with the name of 2nd Earl Poulett of Hinton House, Somerset, together with a list of artisans with the times worked on each piece, in all cases Lock's name heading the list. It has been suggested that Lock and Copland were involved with Thomas Chippendale in the production of Chippendale's Director. Certainly there are a number of drawings by Chippendale preserved in George Lock's folios, indicating some form of collaboration, and Chippendale's designs include those for mirrors with affinities to that offered which are illustrated in The Gentleman and Cabinet-Maker's Director, 1754, pls. CXLI-CXLIII.