A German polychrome and gold on a green babkground lacquer mirror, Berlin, circa 1725, attributed to the circle of Gerhard Dagly

With William Redford, London;

Christie’s, New York, 8 April 2004, lot 30

Related literature :

H. Huth, “Lacquer Work by Gerhard Dagly », The Connoisseur, vol. 95, 1935, p. 14

W. Holzhausen, Lackkunst in Europa, Munich, 1982, p. 198-199, fig. 146-147

This magnificent lacquer mirror can be attributed to early 18th-century workshops in Northern Europe. Its oak frame, combined with its overall shape and decoration, is characteristic of ‘japanned’ lacquerware produced in northern Germany and, to a lesser extent, the Netherlands.

Dresden is generally considered to be the most renowned centre for the manufacture of this type of furniture in Germany at that time. However, the figurative compositions on the present mirror are distinguished by a freer interpretation of Chinese prototypes than those produced in Dresden workshops. The combination of palm trees and large ‘exotic’ flowers with Chinese figures brings this mirror closer to the productions made in Berlin, notably certain tables with removable tops and a jardinière made shortly after 1713 (W. Holzhausen, Lackkunst in Europa, Munich, 1982, pp. 198-199, figs. 146-147).

These pieces are generally attributed to the workshop of Gerhard Dagly (died in 1715), whose activity is thought to have continued after he left Berlin for Paris in 1713.

Dagly gained great renown following his appointment in the 1680s as Kammerkünstler to Frederick William, Elector of Brandenburg (died 1688). He was then appointed Intendant des Ornements at the court of Frederick III, Elector of Brandenburg, who later became Frederick I, King of Prussia (H. Huth, ‘Lacquer Work by Gerhard Dagly,’ The Connoisseur, vol. 95, 1935, p. 14).

Gerhard Dagly and his brother Jacques supplied Frederick I and his court with furniture of exceptional quality.

Several comparable mirrors have been sold at auction: a pair probably by Gerhard Dagly sold at Christie's, London, 29 October 2009, lot 50; a second, red and gold, in the style of Martin Schnell, sold at Christie's, London, 20 November 2008, lot 504; and a polychrome mirror presented as in the style of Gerhard Dagly, sold at Christie's, London, 16 September 2020, lot 145.

Origins of japanning in Europe

The fashion for chinoiserie dates back to the 17th century, following the restoration of Charles II in 1660, a period marked by the boom in trade with the Far East and considerable demand for Chinese lacquer screens, cabinets and chests. To meet this demand, English and continental cabinetmakers developed the technique of japanning, designed to imitate genuine Asian lacquerware.

European artists drew their inspiration from contemporary images of Asia, particularly those engraved and distributed by the Dutch East India Company. These travelogues, appealing though sometimes inaccurate, provided a rich source of iconography. One of the most famous was published in 1669 by the Dutchman Johan Nieuhof, following his embassy to the ‘Great Tartar Khan’ in 1665. The work by John Stalker and George Parker, A Treatise on Japanning and Varnishing (1688), also had a major influence, offering technical instructions and a vast repertoire of Orientalist images intended for both craftsmen and amateurs.

German princes showed a genuine passion for chinoiserie, commissioning pavilions and rooms specially dedicated to these exotic tastes. Frederick III of Brandenburg had three Porzellanzimmer built, one in Oranienburg and two in Charlottenburg, near Berlin. Elector Maximilian Emmanuel had the Pagodenburg built in Nymphenburg Park, a Chinese-style pavilion designed by court architect Joseph Effner.