Thank you for registering for our auction! You are required to provide: 1. Deposit amount is to be discussed; 保证金待商议; 2. Copy or images of ID card (front and back) or Passport 3. Images of Credit card (front and back). 4. VAT消费税以实际账单为准。
Description A George II carved giltwood wall bracket, circa 1750, in the manner of Matthias Lock, the serpentine top with a shallow scrolling gallery above an asymmetrical lower part centred by a bearded mask amongst scrolling foliate, 37cm high, 26cm wide, 19cm deep, re-giltComparative Literature:M. Heckscher, 'Lock and Copland: A Catalogue of the Engraved Ornament', Furniture History, vol. 15, 1979, pp. 1-90.The combination of rococo ornament featuring 'chinese' masks is paralleled on a group of mirrors firmly secured to Matthias Lock. Perhaps the most frequently cited of these is an example made by Lock himself, probably in the mid-1740s, for Earl Poulett at Hinton House, Somerset', Connoisseur, January 1961, pp. 284-286). This mirror is now in the Victoria & Albert Museum. During the 1740s and 50s Lock was employed by the carver and gilder, James Whittle (1731-1759). Lock continued to work for Whittle until at least 1755 when the latter formed a partnership with Samuel Norman. Much of the existing biographical information about Lock is recorded in Thomas Johnson's autobiography. Indeed Lock's association with Johnson began when they first joined Whittle's firm in 1744. Henceforth Lock acted as a mentor to Johnson, lending him his drawings to copy and fostering his skills as a craftsman, designer and draughtsman (See J. Simon, 'Thomas Johnson's The Life of the Author, Furniture History, vol. 39, 2003, pp. 1-64). Lock's exact role within Whittle's workshop is undocumented as is his alternative career as an independent journeyman which is thought to include employment by Thomas Chippendale .