Miroir en bois sculpté et peint en gris, travail anglais d'époque George II, vers 1755

surmonté d'un fronton rocaille et orné d'enroulements feuillagés ajourés ; (élément de boiserie à l'origine, restaurations)

As said, originally part of a room scheme and with consequential alterations.The illustration is slightly too cream, painted colour is more grey. Very large and impressive mirrors. Carving is very crispy and delicate. There are of course some elements of carving missing (small pieces) and others which have been previously re-fixed. Some stains to the plate as visible on image. The upper plates appear original, the upper right plate reusing early 18th century glass. The lower plates have age but are most probably 19th century replacements. The painted scheme appears original with some later but very well matched restorations.Overall condition is pretty fine.
"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 grand miroir rocaille au dessin et à la sculpture particulièrement déchiquetés appartient à ce courant stylistique du milieu du XVIIIe siècle parfois qualifié de "vogue pour le pittoresque fançais" en Angleterre. Le nom de Matthias Lock est généralement associé à ce courant et les dessins qu'il a publié en 1752 dans son Nouveau Recueil d'Ornements évoquent notre miroir tout comme celui de John Linnell qui dessina trois ans plus tard des projets de miroirs aujourd'hui conservés au Victoria & Albert Museum (voir H. Hayward, "The Drawings of John Linnell in the Victoria & Albert Museum", Furniture History Society, 1969, vol; V, figs. 46-49).