Research:
Of giltwood with old replaced mirror plate. The upper semi-circular mirror plate set with arched repeating anthurium leaf design above fan motif issuing from a floral patera that joins with the lower rectangular mirror plate at the center along a beaded border. The lower plate set to the top edge with carved harebell swags suspended from the central patera and two flanking floral bosses from which hangs an urn continuing down into a bead-molded border. The sides and top set at the edge with repeating carved acanthine finials, all with an outer fluted and leaf carved frame.
Published:
Schiffer, Herbert F. The Mirror Book: English, American & European. United States, Schiffer Pub., 1983. Figure 456.
The design of the present mirror adheres to the neoclassical idiom of the latter part of the eighteenth century and is much in the manner of the celebrated British architect and designer Robert Adam (1728-92), the most influential leader of taste of his day. The arched form of the present mirror is a recurring theme in Adam’s work, frequently employed in interior schemes, such as arched niches in the drawing room at Derby House, Grosvenor Square and repeating arch motifs in the painted wall decoration of the Etruscan dressing room at Osterley Park. Additionally, the carved ornament employs many of the same neoclassical motifs found in Adam’s furniture and interior design commissions, including floral pendants, paterae, harebell swags, anthemia, and pearl-string beading.
Full research report available on request.