Large Louis-Philippe period overmantel mirror in moulded and gessoed wood, gilded with gold leaf on red bole. Rounded upper corners and straight base, the characteristic signature of this French production from the third quarter of the nineteenth century.
The principal moulding displays a finely incised radiating fluting, rhythmed along its edge by a frieze of beading.
The whole rests on a wide smooth flat band. The original mercury glass, with its foxing, unambiguously attests to the antiquity of the piece.
Period backing in assembled pine planks at the reverse.
The gilding, almost entirely preserved, allows the underlying red bole to appear in places, a trace of the traditional fine gold work of nineteenth-century French gilders, lending the piece a luminous and warm patina.
Fine overall state of conservation.
Wear consistent with age and use.
France, nineteenth century
Louis-Philippe overmantel mirror (circa 1850) displaying the characteristic silhouette with rounded upper corners (known as “à épaules”, or shouldered).
The wood and stucco frame is adorned with its original gold-leaf gilding, presenting a beautiful patina. This model is distinguished by its principal moulding decorated with a frieze of engraved cross-hatching, a classic and understated motif which lends a geometric finesse to the whole. The inner border is underlined by a row of smooth beading accentuating the relief of the frame.
The mirror plate is original, offering that deep lustre particular to period mirrors.
The back of the mirror is entirely closed by its original wooden panelling.
The red bole is visible in places beneath the gilding, attesting to traditional gilding techniques.
In fine state of conservation.
An elegant Italian mirror from the mid-18th century, in carved wood gilded with gold leaf.
The frame is adorned with a twisted moulding with oblique gadroons.
Openwork pediment with naturalistic decoration centred on a grape cluster in high relief, flanked by vine leaves with incised veins and sinuous asymmetrical tendrils, a Bacchic motif characteristic of Italian workshops of the mid-18th century.
The openwork lateral uprights are punctuated with water-leaves and terminate in scrolled bosses.
The base is composed of scrolled motifs with carved rosettes. Original mercury glass plate with foxing.
Old gilding largely preserved, revealing the red bole, natural patina.
Italy, 18th century
An elegant carved wood oval mirror, finely worked with branches and foliage decoration. Mercury-backed bevelled plate, 19th century. In the Black Forest style.
A large ornamental mirror with cornice in grey-patinated wood. Applied detachable pediment.
Mirror with twin columns on each side with pedestal. Original mercury-backed plate. A fine patina.
A fine mirror with pediment, the frame in gilt wood and stucco accentuated with a frieze of pearls and broken-line moulding, adorned at the cresting with a flowered vase. Mercury-backed plate. Louis XVI period. France, 18th century.
An important ceremonial mirror in richly carved and moulded oak. The pediment is centred with a high-relief mascaron figuring a putto's face (or cherub) with fleshy features, emerging from a stylised shell and deployed wings. The upper rail is adorned with generous fruit garlands (grape clusters, pomegranates, pine cones) symbolising abundance. The lateral uprights, with animated lines, are carved with acanthus volutes and interlocking motifs. The lower section stands out by an architectural base resting on two stylised confronted dolphins, a classic motif of Rhenish Baroque symbolism. The mirror is bordered by a fine inner moulding decorated with a row of pearls and dentils, bringing a contrast of finesse to the power of the exterior carving. Structure: excellent state of stability. Superb deep, dark patina, typical of productions of Eastern France and the Rhine valley. Joinery: period assembly with massive plank backing, showing early tool marks and natural shrinkage cracks attesting to its antiquity. Mirror: plate replaced later (decorative scalloped edge), in perfect condition.
An important rectangular mirror in carved and giltwood. This model stands out by a striking and richly worked pediment. At the summit, a dove with deployed wings, symbol of peace or love, is inscribed within a laurel wreath. It surmounts a central medallion adorned with two flaming hearts pierced by arrows, resting on a fluted base. Frieze of twisted ribbons and pearl frieze. The frame is flanked by broad foliage and laurel drops descending along the uprights. The lower section is adorned with two stylised volute consoles, allowing the mirror to rest elegantly on a chimneypiece or console.
A Louis XV-style mirror in carved and giltwood, adorned with an openwork pediment decorated with a bird amid scrollwork and foliage. The frame, with floral and volute decoration, presents a fine and balanced carving. Antique gold-leaf gilding, with a fine patina and some signs of use. Original mirror plate. French work, 19th century.
A very fine Louis XVI-period mirror in carved giltwood and parcel-gilt, with a pediment adorned with birds, a quiver filled with arrows, and flowers. Gold-leaf gilding. The uprights are decorated with foliage and terminate in pine cones. Original mercury-backed mirror plate. Later wood backing.
A very fine carved giltwood mirror of the early 19th century in Louis XVI style. It presents a pediment adorned with a laurel wreath, symbol of success, doves, symbol of peace, and a quiver filled with arrows, symbol of love. Frame with pearl friezes, side drops decorated with acanthus leaves. Original plate.
A superb Italian Baroque mirror in carved openwork wood, presenting a highly animated Rocaille decoration and great richness of execution. The frame is entirely worked by hand, with a remarkable interplay of volutes, foliage, cartouches and scrolls characteristic of the Baroque style of Northern Italy. The upper section is adorned with a figure sculpted in high relief, set within a Rocaille decoration. The deep piercings testify to virtuoso work, typical of the 18th-century Italian ateliers. The feet are integrated into the frame decoration in a continuous ascending movement, according to a typology proper to the Veneto and Piedmont. Original plate. Wear and losses, spotted silvering linked to age.