Galerie Gomiero, Milan ;

Sotheby's Milan, 20-21 December 2005, lot 352.

L. Violo, Eclettismo alla romana, in «Antiquariato», October 2008, p. 106. 

RELATED LITERATURE

E. Colle, Il mobili di Palazzo Pitti. Il primo periodo lorenese 1737-1799, Turin-Florence, 1992, p.158.

E. Colle, Il mobili di Palazzo Pitti. Il periodo dei Medici, Turin-Florence, p.181.

S. Chiarugi, Botteghe di mobilieri in Toscana (1780-1900), Florence, 1994, 2° vol. p.80.

E.Colle, Il mobile neoclassico in Italia. Arredi e decorazioni d'interni dal 1775 al 1800, Milan, 2005, p.200.

A. M. Massinelli, Il mobile toscano (1200-1800), Milan, 1993.

Rome Biennale (palazzo Venezia), 2008

The Noble provenance of this pair of mirrors is documented by one of the two mirrors which furnished the Piano Nobile of an aristocratic palace in Florence. They are a remarkable example of late 18^th century Lucchese craftmanship, which embellished some of the most important aristocratic palaces and embodied the sophisticated aesthetic that defined both the era and the region.

To find Tuscan mirrors of the same monumental size, virtuosic quality and flamboyant richness of decoration, we must visit the Royal Chamber (Camera del Re) via the Quartiere d’Inverno at the Palazzo Pitti in Florence, which is furnished with a mirror that displays a pair of sculptural griffons comparable to the carving on the present mirrors (see E. Colle, Il mobile Neoclassico in Italia, Milano, 2005, p. 200 fig. 42, and oܫn the cover).

The Noble provenance of this pair of mirrors is documented by Sotheby’s in their Milan, 🐎20 - 21 December 2005 auction catalogue, where one of the two, lot 352, is illustrated in the interior of an Aristocratic Flor🍸entine Palace.

The monumental size of these mirrors, combined with the sphinxes that support the entire structure, manage to create a particular rich and balanced com♋position. Each element has been meticulously crafted and make these mirrors the finest example of their kind.

This pair of mirrors show all the characteristics of t෴he Lucchese Neoclassic style:

• The rectangular shape, emphasized by its vertical compositions, and the decorative motives on this pair of mirrors are typical of the pieces of furniture produced in Lucca at the end of 18^th century - pieces that are still embellishing the aristocratic palaces in Lucca.
• The use of the 3-D sculptural figures of sphinxes, each surmounted by a vase and feathers, are reminiscent of the heraldic symbol of the Prince of Wales. This highlights the English influence on Tuscan decorative arts, particularly through the trading hub of Leghorn.

Similar sphinxes can be seen on the cresting of:

• The mirror illustrated in Il Mobile Lucchese by Enrico Colle, Lucca, 2009, p. 180, fig. LXXXVIII B; The mirror formerly at Palazzo Cenami Spada in Lucca (published by S. Chiarugi, Bottega di Mobilieri in Toscana, 1780-1900, Firenze, 1994, n.50, p.80);
• The mirror at the Piano Nobile of Palazzo Rospigliosi at Pistoia published by A. Massinelli in Il mobile Toscano, 1200-1800, Milano, 1993, n.150, p. 86), and on the feet of the mirror presented for sale in May 2004 illustrated by E. Colle, Il mobile Neoclassico in Italia, Milano, 2005, p. 200);
• The decorative motif of the two lions on our mirrors, each looking outwards and flanking the mythological allegorical half-figure of Abundance holding a cornucopia in each hand, is also used in a mirror sold at Sotheby’s in New York October 2007, lot 304 (illustrated by E. Colle , Lucca, 2009, fig LXXXIX a;

This pair of mirrors is characterized by the richness of their 3-D carving and by their sophisticated complexity of architectural design and superior quality of execution and are comparablꩲe to those Lucchese mirrors which are publi꧋shed and listed above.