Mirrors

The mirror is framed by large carved irises connected by trailing vines that weave naturally around the shaped surround. The deeply modeled carving and softly worn parcel-gilt surface emphasize the movement and sculptural quality of the design, while the attenuated frame gives the piece a notable sense of verticality. The mirror may be displayed either vertically or horizontally, each orientation offering a distinctly different character.

Strongly representative of the Art Nouveau movement’s fascination with natural forms and sinuous line, the mirror combines richly carved floral ornament with areas of open carving that lighten the overall composition.

The mirror functions equally well as a reflective surface and as a decorative object in its own right. Its botanical ornament and unusual form make it a particularly representative example of the period.

The mirror features a central cartouche flanked by swan-neck pediments above an egg-and-dart molded frame with trailing vine decoration and sides ornamented with carved oak leaves. The deeply worked gesso decoration surrounds a later mercury glass plate. Reduced in width at an early date, the alteration is handled with unusual skill and is not immediately apparent.

The carving displays a lively quality throughout, particularly in the scrolling vinework and oak leaves, while the varied depth of the decoration creates strong shadow and contrast across the surface. The retained gilding and aged plate contribute to the mirror’s overall character.

The combination of bold carving and relatively compact scale makes the mirror particularly versatile, suitable for use above a chimney piece, console, or chest of drawers.

The original shaped and beveled mercury glass plate within an elaborately carved frame surmounted by a swan-neck pediment centered by a foliate cartouche over a punched diaper ground. The borders richly worked with scrolling acanthus, shells, and strapwork carving, the lower apron with pierced scrolls and a central shell motif. Retaining substantial original surface with later dry scraping revealing traces of the early gilding throughout.

The carving is deeply modeled, particularly in the acanthus, shell, and strapwork ornament, creating strong shadow and contrast across the frame. The exposed gesso and bole beneath the surviving gilding contribute significantly to the character of the surface.

The design reflects the richly ornamental Palladian and early rococo vocabulary fashionable in England during the middle of the eighteenth century, combining a swan-neck pediment, scrolling acanthus, shell ornament, and diapered grounds.

With oval mercury plates within finely carved openwork frames, the asymmetrical ornament composed of scrolling acanthus, foliate sprays, pierced rocaille elements, and stylized shell motifs, surmounted by boldly carved crestings and terminating in richly modeled lower crests.

The surviving gilding, softened over time, gives the mirrors considerable depth and warmth. The mirrors reflect a vernacular interpretation of the English Rococo, with fluid carving and richly modeled ornament throughout. The later antique mercury plates complement the carving and reinforce the distinctly eighteenth-century character of the pair.

Each mirror retains a rectangular mercury glass plate within a finely carved giltwood frame surmounted by a pierced cresting composed of an urn, trailing husk ornament, and suspended oval medallions in the neoclassical taste. Delicate leafy branches and attenuated ornament lend the pair an unusual lightness.

The softly aged gilded surfaces and mercury plates contribute significantly to the character of the pair. Their narrow proportions make them particularly versatile.

The use of the eagle crest, oak leaf ornament, and naval chain-shot reflects the enduring fascination during the Regency period with maritime power, imperial imagery, and classical symbolism in the years surrounding the defeat of Napoleon. Oak leaves and acorns carried strong associations with England and the Royal Navy, while the chain-shot motif evokes naval warfare and Britain’s dominance at sea during the early nineteenth century.

Convex mirrors were especially admired during the Regency period for the distinctive quality of their reflections. Colloquially known as “bull’s-eye” mirrors, they provided unusually wide fields of view and amplified candlelight in a manner that brought warmth, movement, and theatricality to an interior. Their expansive reflections also allowed activity within a room to be observed discreetly from a distance, adding both practical and social appeal. Thomas Sheraton noted in 1803 that convex mirrors had become “universally in fashion,” admired both for their decorative qualities and their ability to dramatically animate surrounding interiors.

The mirrors constitute a true pair, with the eagles facing in opposing directions. The deeply carved wings and chain-shot borders are particularly well defined, creating strong contrast across the gilded surfaces.