Pair of cornucopias. Carved and gilded wood and porcelain. 18th century. Pair of cornucopias with mirrors, practically identical (except for details on the leaves of the frames), made of carved and gilded wood. Inside, the main mirror has mouldings that draw curves and straight areas, scrolls and other elements. The elaborate decoration of the wall mirrors starts with grotesques at the bottom, from which plant elements emerge that extend, accompanied by hangings, towards the top on the sides, with openwork details. Above, the tops have two circular spaces, flanked by birds perched with their wings partly extended, and surrounded by elaborate frames that, like the rest of the pieces, have architectural elements (scrolls, plain oval mirrors...), plant elements and shapes reminiscent of Rococo rocailles. Clearly, the examples belong to the Rococo style, even taking into account the slight asymmetry of the decorative motifs and the slight difference between the two examples. It is possible to find similarities in the design of these cornucopias with different engravings and works by Matthias Lock (London, ca. 1710-ca. 1765). Compare with engravings from the work “A New Book of Ornaments with Twelve Leaves Consisting of Chimneys, Sconces, Tables, Spandle Panels, Spring Clock Cases, Stands, a Chandelier and Girandole, etc.” (Henry Copland and Matthias Lock; London, 1752), with examples preserved in the Metropolitan Museum of New York, drawings from the Victoria & Albert Museum of London, etc. Matthias Lock was the first to publish Rococo designs in England, and is also considered the first to master the Rococo style and include it in his works and designs. Little else is known about his life: he was a disciple of Thomas Chippendale and Adams, he may have worked with Henry Copeland and his work ranged from the most elaborate Rococo to the most harmonious Classicism. The small porcelain plates on the top show a pheasant on a rock among chrysanthemums and other flowers, in a common composition in this type of object, made in China for export to Europe and, therefore, without having given meaning to any of the animals or plants (the golden pheasant was a symbol of the Emperor, and the one on this plate does not have yellow in its plumage). Chinese porcelain was already known in Europe in the 15th century, but its commercial boom occurred from the 16th century, with the well-known pieces in Blue and White so valued that they even inspired the local ceramics of the different kingdoms. As for the so-called "Pink Family" due to the predominance of this tone in its enamel, it was born with the introduction of this colour in China at the beginning of the 18th century by the Jesuits and its production continued until the 19th century. Furthermore, it became so highly valued that it displaced the Green Family at European courts at times, with works from the reigns of the Yongzheng (1678-1735) and Qianlong (1711-1799) Emperors being the most abundant and highly prized and sought after for their high quality. Stylistically, these two plates inserted into the mirrors are very similar to works from the Rose Family made at the end of the reign of the Yongzheng Emperor or at the beginning of the Qianlong Emperor at Kingdezhen (Jiangxi, Republic of China) around 1735. In fact, there are some plates in private collections with pheasants in the same position and on a stone practically identical to that of these two examples. Note that the decorated border of the same can be seen, almost entirely hidden by the gilded wood.
· Size: 100x68x12 cms.
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