A George II carved and painted mirror, mid-18th century, in the manner of Thomas Johnson

with ho-ho birds, scrolling foliage and surmounted by a Chinese figure, with a later plate, re-decorated, restorations

An attractive mirror of superlative quality and in reasonable restored condition. The mirror plate is later but of an aged appearance and could have been cut down from a larger piece and resilvered. There are restorations to the frame. These are largely in the form of glued repairs to breaks, chips and fractures. These do not detract. There is some filler and constructional cracks as well as minor loses to some carved details. There is a possibility there may be some replaced areas of carving. The current surface appears to be later, it is most probably a close approximation to the original treatment on this piece. The reverse of this piece with strengthening batons to consolidate historic repair and evidence of former worm. A spectacular piece.
"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 exquisitely carved mirror is conceived in the George III ‘Rococo’ style popularised by Mathias Lock’s A New Book of Ornaments (1752), Thomas Chippendale’s The Gentleman and Cabinet-Makers Director (1754) and Thomas Johnson’s Collection of Designs (1758). Beautifully drawn, elements of the present mirror can be seen in the output of each of these towering figures of 18^th century English design. A pair of oval giltwood mirror’s surmounted with Chinese figures where supplied by Chippendale for the Drawing Room at Dumfries House, whilst a pattern of Mathias Lock in A New Book of Ornaments (1752) incorporates ho-ho birds and similar figures (fig. 1).

Perhaps the closest deign of all is that by carver and gilder Thomas Johnson (1714-1778) from his Collection of Designs (fig. 2). Johnson’s exuberant imagination informed his fantastical designs, with recurrent motifs including dolphins, exotic birds, animals from Aesop's fables and Chinoiserie figures. Evidently his talent caught the attention of Chippendale who credits him with several Rococo designs in the Third Edition of the Director. Johnson is known to have supplied mirrors in the early 1760s Through the London upholsterer George Cole of Golden Square, Soho, to Paul Methuen at Corsham Court, Wiltshire, and the Duke of Atholl at Blair Castle in the Scottish Highlands.