Manner of John Vardy

later mirror plate

Acquired from Godson & Coles, London.

A superb example of it's type. In overall good conserved condition, with minor losses, repairs to carving, marks and scratches consistent with age. There is some residual glue to some old repaired breaks to some carved detail which does not detract. Whilst the surface feels authentic, we have not been able to determine the age of the lime wash or what the original surface treatment would have been. The mirror plate is later. Please contact the department if you would like further images of this lot or have further enquiries.
"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 fine mirror is a true masterpiece of English 18^th century design and like so much in the collection it is amongst the best of its type. The design is imbued with the characteristics of the emerging rococo style of the 1740s but is ultimately a neo-Palladian work.

Inigo Jones (1573–1652), William Kent (1685-1748) and John Vardy (1718-1765) revelled in the architecture of Renaissance Italy and the Antique. Their published designs and drawings delighted wealthy patrons, who could demonstrate their sophistication having returned from cultivating Grand Tours.

The caryatid figures appear to be lifted from plate 51 of Isaac Ware’s (1704-1766) ‘Designs of Inigo Jones and Others’ (1731) (fig. 1). A Kent design for a chimneypiece and overmantel for the Saloon at Houghton Hall, only the lower section, without caryatids, was never realised. Interestingly, the satyr mask which crowns the present mirror relates closely to a table also designed by Kent for Houghton, which Vardy reproduced in ‘Some Designs of Inigo Jones and Mr William Kent’ (1744) (fig. 2). Evidently, the designer of this mirror was particularly close to Kent and his body of work, and none was more devout a follower than Vardy. A protégé of Kent, Vardy was appointed Royal Clerk of Works for the King at Greenwich in 1736 and effectively became Kent’s amanuensis.

Other elements of the design can be more firmly linked with Vardy’s own creations, in particular, the boldly carved palm fronds which are something of a leitmotif of his. Vardy designed the famous Palm Room at Spencer House, London (1756–65) and the beaded acanthus leaves as seen on the present mirror appear prominently on the Palm Room mirrors. Further, they feature prominently on a pair of mirrors designed by Vardy for the Duke of Bolton at Hackwood Park. It is perhaps these rushes or palms which had a particular resonance with Hodgkin, echoing his penchant for exotic foliage, a theme which recurs throughout his collection and artistic output.