A pair of George II giltwood pier mirrors, circa 1730-40of architectural form, the bevelled rectangular plate within a sanded frame with reel-and-bead and egg-and-dart moulded border and foliate carved decoration, surmounted by a broken pediment with a punched ground and a scrolled and acanthus carved cartouche, the pediment with conforming egg-and-dart decoration and a leaf-carved moulded edge above a frieze centred with a lion mask issuing from tied palm fronds and flanked by foliate clasps, the sides hung with foliate trails, the shaped apron centred with a carved shell, re-gilt149cm. high, 86.5cm. wide; 4ft. 10¾in., 2ft. 10in.品相: thomas.williams@sothebys.com 来源: Christie`s New York, Important English and Continental Furniture, Clocks and Objects of Art, 17 October 1981, lot 190.来源3: This ‘tabernacle’ form of mirror had become generally widespread by the mid-1720s, and Adam Bowett goes so far as to call it “an emblem of what came to be conceived as the national or ‘British’ style”1. It was a product of the Palladianism that became firmly associated with Inigo Jones and William Kent. Their intellectually rigorous approach to aesthetics and taste expanded the predominantly architectural work of Andrea Palladio (1508-1580) into an all-encompassing approach to interiors. Generally, a mirror of this form would have been hung in the ‘pier’, the wall space between two tall windows, with a matching console table underneath.For ten very fine designs for pier glasses in this style, dated circa 1740, see the series by Joseph Sanderson held at the Victoria & Albert Museum, London (accession numbers E.221-2005 to E.230-2005). For a similar mirror, which combines many of these decorative elements in a manner closely related to the present lot, see that illustrated in Graham Child’s World Mirrors, as an image taken from Sotheby’s archive2.1 A. Bowett, Early Georgian Furniture 1715-1740, Woodbridge, 2009, p. 297.2 G. Child, World Mirrors 1650-1900, London, 1990, p. 88, fig. 84a.