The Home Beautiful: The Monnoyer Painted Mirror, 1710-20

Painted Mirror
Antoine Monnoyer, 1710-20
The Victoria & Albert Museum

For a painted mirror such as this to survive for centuries is nothing short of miraculous.   The mirror glass is fragile and the surface paint easily chipped or stripped away during cleaning.   Furthermore,  such mirrors were often built into an interior and many examples were destroyed when the room was altered or redecorated.

This mirror is the work of the French artist Antoine Monnoyer who was born in 1672--the son of the artist Jean Baptiste Monnoyer, who worked for Louis XIV.  Coming to England in 1683, the Monnoyers, both father and son, painted flowers from all seasons of the year, achieving a decorative effect that would have been impossible with fresh-cut flowers. According to the V&A, “Jean Baptiste did a mirror closet at Kensington Palace for Mary II. Apparently she was so fascinated by his skill that she watched him while he worked.”

This mirror was painted in England and includes the coat of arms of the Duncombe Family, thought it is speculated that this was probably added later. This example may have been an overmantel in a room which was thickly hung with tapestries.

Queen Mary, consort of King George V, was a fan of this style of mirror and, as such, hoped to restore the similarly-painted mirror closets at Kensington Palace.  She ordered such fashionable painted glass to be installed, but it does not survive.

The Home Beautiful: The William Kent Shell Mirror, 1735-40

Mirror
Possibly by William Kent and John Boson
1735-1740
The Victoria & Albert Museum

With its symmetrical decoration, this mirror is an ideal example of the Baroque style that flourished in Italy in the late Seventeenth Century.  This updated, Eighteenth Century take on the Baroque mirror features an inner molding of a regular egg and leaf pattern and a double shell cresting.  This architectural piece clearly suggests the involvement of the celebrated William Kent who was known for his use of a double shell crest.

William Kent was extremely prolific in a variety of areas. For example, he designed a barge for Frederick, Prince of Wales (George II's eldest son, who died in 1751). The double shell cresting of this mirror is similar to the stern of the Prince's barge. Both this crest and the crest of the Prince’s barge also featured his symbol of the Three Feathers--the traditional badge of the Prince of Wales.

John Boson, who carried out the carving on the barge, may also have been responsible for carving this mirror.  Boson worked with Kent on many projects including carrying out Kent's designs at Chiswick House, London, for Richard Boyle, 3rd Earl of Burlington, and at Kew Palace, Surrey, for the Prince of Wales.

The oval mirror frame, dating to circa 1735, is crafted of carved and gilt pine. The frame is surmounted by a bearded head adorned by three ostrich feathers encircled by the coronet of the Prince of Wales with conventional shells behind. The whole of the frame is further adorned with acanthus foliage, rococo ornament and festoons.

The Home Beautiful: The Halnaby Hall Giltwood Mirror, 1750-1760

Chinoiserie Mirror of Giltwood
England, 1750-60
After Thomas Johnson
Removed from Halnaby Hall in 1952
The Victoria & Albert Museum

Could this mirror be any more magnificent? This giltwood mirror is carved with a design and figures in the Chinoiserie (a general term for Chinese-style decorative and ornamental motifs) style.  The mirror frame is built into a complex pinnacle with each of the interstices (the carved crevices) filled with mirror glass, creating an astonishing shimmering effect when struck by candlelight.  

Though we do not know who made this mirror, the curators at the V&A have deduced—based on historic designs and drawings—that it may have been based on engravings published as a book (oddly, without a title) by Thomas Johnson (1714-1778)  in 1758.  Johnson was a highly-skilled carver and a gilder who is known to have supplied mirrors--via the London upholsterer George Cole of Golden Square, Soho--to Paul Methuen at Corsham Court, Wiltshire, and the Duke of Atholl at Blair Castle in the Scottish Highlands.

Among the characteristic Chinoiserie motifs included on this mirror frame are fanciful buildings, robed figures and birds with long necks—creating an illusion of China as a fairy-tale land.   

This mirror once hung between the windows in the Drawing Room at Halnaby Hall (formerly the seat of the Milbanke family) in North Yorkshire.   Sadly, this Rococo mansion was demolished in 1952 at which time, the V&A purchased this mirror.

Object of the Day, Museum Edition: A Papier-Mâché Folder from The Crystal Palace, 1851

Click image to enlarge.

Souvenir of the Great Exhibition
Jennens and Bettridge, 1851
The Victoria & Albert Museum

A folder like this one, made of papier-mâché, would have been made as a decorative way to contain note or blotting paper. Items such as these folder perfectly lent themselves to being made as souvenirs or commemorative objects which would have been both affordable and useful.

This one dates to 1851 and was made as a souvenir of the Great Exhibition. The front of the notebook is set with a view of the Crystal Palace which has been reverse-painted under glass. The reverse of the painting has been silvered which serves to turn the painting into a mirror and affords a certain sparkle to the Crystal Palace—replicating how the massive glass structure must have really looked when reflected in the sunlight.

The folder itself is crafted of japanned papier-mâché which has been decorated with mother-of-pearl roses—a technique popularized around 1772 when Henry Clay of Birmingham invented a new method of manufacturing japanned items in the Chinoiserie style. Clay’s method involved the pressing of sheets of heat-resisting paper into wooden moulds. The resulting object was smoothed, providing a warp-free surface ideal for japanning—a decorating technique wherein pigment is suspended in a varnish medium in an imitation of oriental lacquer. Inlay of mother-of-pearl had long been the favored adornment for these pieces. By 1825, the firm had patented this inlay technique. And, soon, the Asian-inspired scenes gave way to decidedly Western themes of flowers, castles, landscapes, animals and naturalistic patterns.

This is just one of the many different papier-mâché articles which were offered as souvenirs of the Crystal Palace. It was made by Jennens and Bettridge, who had bought Clay's factory in 1816. The duo also had one of the main displays at the Great Exhibition—showcasing their wares and directing people to their souvenirs. 

Object of the Day, Museum Edition: A Carved Walnut and Bronze Mirror, 1510

Mirror
Bronze and Walnut
Italian, c. 1510
The Victoria & Albert Museum

The history of the Victoria and Albert Museum reminds us of the Nineteenth Century ideals which prevailed as major museums were established in Britain. Victorian curators. Perhaps to assign importance to objects or perhaps to give an object some greater historical significance, wanted to associate items in their collections with known historic figures. Sometimes, this was based (even loosely) on fact, but most of the time, these associations were not only guesses based on provenance, but, simply, mere wishes.

When this carved walnut and bronze mirror (dated to c. 1510) first appeared in the collections of the V&A, the curators believed (hoped) at first that it was associated with Marguerite de Valois, the first wife of Henry VI of France. Why? The decoration of its frame with daisies (marguerites in French) led them down this rather precarious path.

Though the daisies would have been a clever pun on the Queen Consort’s name, the fact is that Marguerite lived between 1553 and 1615, almost a century after the mirror is thought to have been made. So…nope.

However, some association with an important figure could be possible. The mirror is Italian in origin and it also includes two emblems connected with Frederigo da Montefeltro, Duke of Urbino - the ermine and the goose (perhaps readable as the Duke Frederigo's symbol of an ostrich) with an arrow-head in its beak. Could this association actually be true? Duke Frederigo lived from 1422 to 1482 and so it is possible that the mirror could have been made for his household or in his honor. Images of ermine and ostriches were used in the decorations of Frederigo's studiolo or study , built for his palace in Gubbio, Italy. His study, in fact, has since been removed from the palace and is in the Metropolitan Museum in New York.

What else is known about this mirror? Something more verifiable, hopefully. We know it belonged to Jules Soulages (1803 - 1856), a lawyer from Toulouse, whose collection was bought in bits and pieces by the Victoria & Albert Museum, after being exhibited at the Royal Residence (and, later longtime home of Queen Mary) Marlborough House between December 1856 and January 1857. But, as far as provenance goes, that’s about all we know for certain.

Still, it’s a very attractive piece. That alone, and its age, gives it all the importance that it needs. The carved walnut frame is surmounted by a scrolled pediment and set on a carved walnut pedestal, made up of four triangular sides, with broad tapering edges. The reverse of the base is painted with daisies.

The adornment on the frame itself is rather peculiar. The sides are decorated with medallions representing an elephant with a fly on its body, a goose holding a nail (or an arrow…it could also be an ostrich), two twisted ropes, also pierced with nails, and ermine with a blank scroll above it.

The mirror plate is made of speculum, a bronze with a high tin content which was used around 1500. While most of the mirror’s frame is original, pieces of the molding have been replaced over time.

The Home Beautiful: The Boucheron Hand Mirror, 1860-65

Hand Mirror
Boucheron, 1860-1865
Enameled Gold, Diamonds, Rubies and Pearls
Presented to Queen Mary and King George V
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Made by Boucheron between 1860 and 1865, this hand mirror glistens with a frame of gold, enamel, pearls, rubies and diamonds.  

The mirror was presented to George V and Queen Mary, while still Prince and Princess of Wales, by the Aga Khan.  Before that, the mirror was exhibited at the Paris Exhibition of 1867 where it was purchased  by the Earl of Dudley.

This oval hand mirror features a faceted beveled edge and gold enameled frame set with scalloped flat-cut ruby collets. The outer border is set with a red and green enameled honey suckle pattern with pearls set in rose diamond acanthus cups, with pearls between. The top of the mirror boasts a diamond fleur-de-lys. A pierced gold, scrollwork handle is set with rubies, diamonds and pearls, and showcases heart-shaped shields of painted enamel and enamel bars.

This mirror was enameled by Armand-Désir Riffault (1832-1872), a jeweler and enameller who worked for Boucheron.  Riffault famously crafted elegant objects for the Paris exhibition of 1867.

According to the curators of the Royal Collection, “This mirror, enameled by Riffault for the 1867 exhibition in the Renaissance style, won praise from the officials and the press and Riffault, together with Boucheron, were awarded a 'Médaille de bronze' for it.”

The Home Beautiful: The Monnoyer Painted Mirror, 1710-20

Painted Mirror
Antoine Monnoyer, 1710-20
The Victoria & Albert Museum

For a painted mirror such as this to survive for centuries is nothing short of miraculous.   The mirror glass is fragile and the surface paint easily chipped or stripped away during cleaning.   Furthermore,  such mirrors were often built into an interior and many examples were destroyed when the room was altered or redecorated.

This mirror is the work of the French artist Antoine Monnoyer who was born in 1672--the son of the artist Jean Baptiste Monnoyer, who worked for Louis XIV.  Coming to England in 1683, the Monnoyers, both father and son, painted flowers from all seasons of the year, achieving a decorative effect that would have been impossible with fresh-cut flowers. According to the V&A, “Jean Baptiste did a mirror closet at Kensington Palace for Mary II. Apparently she was so fascinated by his skill that she watched him while he worked.”

This mirror was painted in England and includes the coat of arms of the Duncombe Family, thought it is speculated that this was probably added later. This example may have been an overmantel in a room which was thickly hung with tapestries.

Queen Mary, consort of King George V, was a fan of this style of mirror and, as such, hoped to restore the similarly-painted mirror closets at Kensington Palace.  She ordered such fashionable painted glass to be installed, but it does not survive.

The Home Beautiful: A Papier-mache Hand Mirror, 1875

Click on image to see the fairest of them all.

Hand Mirror
England, 1850-1875
The Victoria & Albert Museum

I’ve written many times before how much I love Victorian papier-mache items, especially those which have been inlaid with mother-of-pearl and painted with scenes and designs. This hand mirror from 1850-1875 is an excellent example of that unique art. The mirror was acquired by the V&A in 1875 to add to its “Animal Products” Collection as a means of demonstrating the use of mother-of-pearl as adornment. 

Prince Albert founded this collection in 1853 as part of the South Kensington Museum (now the V&A). His Majesty’s idea was to exhibit a collection of manufactured items which were made from native raw materials. He suggested that these be divided into the categories of animal, vegetable and mineral. The “Animal Products” collection was the only one, however, that was ultimately formed per Prince Albert’s specifications.

The Home Beautiful: A Papier-Mâché Folder from The Crystal Palace, 1851

Click image to enlarge.

Souvenir of the Great Exhibition
Jennens and Bettridge, 1851
The Victoria & Albert Museum

A folder like this one, made of papier-mâché, would have been made as a decorative way to contain note or blotting paper. Items such as these folder perfectly lent themselves to being made as souvenirs or commemorative objects which would have been both affordable and useful.

This one dates to 1851 and was made as a souvenir of the Great Exhibition. The front of the notebook is set with a view of the Crystal Palace which has been reverse-painted under glass. The reverse of the painting has been silvered which serves to turn the painting into a mirror and affords a certain sparkle to the Crystal Palace—replicating how the massive glass structure must have really looked when reflected in the sunlight.

The folder itself is crafted of japanned papier-mâché which has been decorated with mother-of-pearl roses—a technique popularized around 1772 when Henry Clay of Birmingham invented a new method of manufacturing japanned items in the Chinoiserie style. Clay’s method involved the pressing of sheets of heat-resisting paper into wooden moulds. The resulting object was smoothed, providing a warp-free surface ideal for japanning—a decorating technique wherein pigment is suspended in a varnish medium in an imitation of oriental lacquer. Inlay of mother-of-pearl had long been the favored adornment for these pieces. By 1825, the firm had patented this inlay technique. And, soon, the Asian-inspired scenes gave way to decidedly Western themes of flowers, castles, landscapes, animals and naturalistic patterns.

This is just one of the many different papier-mâché articles which were offered as souvenirs of the Crystal Palace. It was made by Jennens and Bettridge, who had bought Clay's factory in 1816. The duo also had one of the main displays at the Great Exhibition—showcasing their wares and directing people to their souvenirs. 

Mastery of Design: The Boucheron Hand Mirror, 1860-65

Hand Mirror
Boucheron, 1860-1865
Enameled Gold, Diamonds, Rubies and Pearls
Presented to Queen Mary and King George V
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Made by Boucheron between 1860 and 1865, this hand mirror glistens with a frame of gold, enamel, pearls, rubies and diamonds.  

The mirror was presented to George V and Queen Mary, while still Prince and Princess of Wales, by the Aga Khan.  Before that, the mirror was exhibited at the Paris Exhibition of 1867 where it was purchased  by the Earl of Dudley.

This oval hand mirror features a faceted beveled edge and gold enameled frame set with scalloped flat-cut ruby collets. The outer border is set with a red and green enameled honey suckle pattern with pearls set in rose diamond acanthus cups, with pearls between. The top of the mirror boasts a diamond fleur-de-lys.  A pierced gold, scrollwork handle is set with rubies, diamonds and pearls, and showcases heart-shaped shields of painted enamel and enamel bars.

This mirror was enameled by Armand-Désir Riffault (1832-1872), a jeweler and enameller who worked for Boucheron.  Riffault famously crafted elegant objects for the Paris exhibition of 1867.

According to the curators of the Royal Collection, “This mirror, enameled by Riffault for the 1867 exhibition in the Renaissance style, won praise from the officials and the press and Riffault, together with Boucheron, were awarded a 'Médaille de bronze' for it.”

The Home Beautiful: The William Kent Shell Mirror, 1735-40

Mirror
Possibly by William Kent and John Boson
1735-1740
The Victoria & Albert Museum

With its symmetrical decoration, this mirror is an ideal example of the Baroque style that flourished in Italy in the late Seventeenth Century.  This updated, Eighteenth Century take on the Baroque mirror features an inner molding of a regular egg and leaf pattern and a double shell cresting.  This architectural piece clearly suggests the involvement of the celebrated William Kent who was known for his use of a double shell crest.

William Kent was extremely prolific in a variety of areas. For example, he designed a barge for Frederick, Prince of Wales (George II's eldest son, who died in 1751). The double shell cresting of this mirror is similar to the stern of the Prince's barge. Both this crest and the crest of the Prince’s barge also featured his symbol of the Three Feathers--the traditional badge of the Prince of Wales.

John Boson, who carried out the carving on the barge, may also have been responsible for carving this mirror.  Boson worked with Kent on many projects including carrying out Kent's designs at Chiswick House, London, for Richard Boyle, 3rd Earl of Burlington, and at Kew Palace, Surrey, for the Prince of Wales.

The oval mirror frame, dating to circa 1735, is crafted of carved and gilt pine.  The frame is surmounted by a bearded head adorned by three ostrich feathers encircled by the coronet of the Prince of Wales with conventional shells behind. The whole of the frame is further adorned with acanthus foliage, rococo ornament and festoons.

The Home Beautiful: The Monnoyer Painted Mirror, 1710-20

Painted Mirror
Antoine Monnoyer, 1710-20
The Victoria & Albert Museum

For a painted mirror such as this to survive for centuries is nothing short of miraculous.   The mirror glass is fragile and the surface paint easily chipped or stripped away during cleaning.   Furthermore,  such mirrors were often built into an interior and many examples were destroyed when the room was altered or redecorated.

This mirror is the work of the French artist Antoine Monnoyer who was born in 1672--the son of the artist Jean Baptiste Monnoyer, who worked for Louis XIV.  Coming to England in 1683, the Monnoyers, both father and son, painted flowers from all seasons of the year, achieving a decorative effect that would have been impossible with fresh-cut flowers. According to the V&A, “Jean Baptiste did a mirror closet at Kensington Palace for Mary II. Apparently she was so fascinated by his skill that she watched him while he worked.”

This mirror was painted in England and includes the coat of arms of the Duncombe Family, thought it is speculated that this was probably added later.  This example may have been an overmantel in a room which was thickly hung with tapestries.

Queen Mary, consort of King George V, was a fan of this style of mirror and, as such, hoped to restore the similarly-painted mirror closets at Kensington Palace.  She ordered such fashionable painted glass to be installed, but it does not survive.

The Home Beautiful: The Halnaby Hall Giltwood Mirror, 1750-1760

Chinoiserie Mirror of Giltwood
England, 1750-60
After Thomas Johnson
Removed from Halnaby Hall in 1952
The Victoria & Albert Museum

Could this mirror be any more magnificent? This giltwood mirror is carved with a design and figures in the Chinoiserie (a general term for Chinese-style decorative and ornamental motifs) style.  The mirror frame is built into a complex pinnacle with each of the interstices (the carved crevices) filled with mirror glass, creating an astonishing shimmering effect when struck by candlelight.  

Though we do not know who made this mirror, the curators at the V&A have deduced—based on historic designs and drawings—that it may have been based on engravings published as a book (oddly, without a title) by Thomas Johnson (1714-1778)  in 1758.  Johnson was a highly-skilled carver and a gilder who is known to have supplied mirrors--via the London upholsterer George Cole of Golden Square, Soho--to Paul Methuen at Corsham Court, Wiltshire, and the Duke of Atholl at Blair Castle in the Scottish Highlands.

Among the characteristic Chinoiserie motifs included on this mirror frame are fanciful buildings, robed figures and birds with long necks—creating an illusion of China as a fairy-tale land.   

This mirror once hung between the windows in the Drawing Room at Halnaby Hall (formerly the seat of the Milbanke family) in North Yorkshire.   Sadly, this Rococo mansion was demolished in 1952 at which time, the V&A purchased this mirror.

Object of the Day, Museum Edition: The Landi Mirror Frame, 1475-1500

The Victoria & Albert Museum

This is truly exceptional. After over five hundred years, her face is still as dewy and lovely as the day it was painted. I rather like the way the V&A has described this item, so I will quote directly, “This idealized face once presided over a small, round mirror.” Isn’t that a charming thought?

You see, in the Fifteenth and Sixteenth Centuries especially in Italy and France, beauty was thought to be a virtue, and it was believed that gazing upon a beautiful face would inspire virtue in the viewer. So, having an attractive face above your mirror might just—by way of your eyes—make you equally attractive.

I suppose now I should paste some pictures from White Collar or Downton Abbey above my bathroom mirror. Maybe it’ll work.

This mirror frame was made in Siena, Italy circa 1475-1500. The relief of the woman’s face is painted papier mache (cartapesta in Italian)! How has it managed to survive?! The frame was supported by two putti with outstretched arms. The woman depicted wears a jewel in her elaborately dressed hair, a gold dress flows from her bodice and she is adorned with a coral necklace and pendant.

It is thought that this came from the workshop of sculptor Neroccio de' Landi (born 1447 - died 1500) since the figure very closely resembles the Mary Magdalene in Neroccio's painting of a Madonna and Child from the Metropolitan Museum of Art in Washington. Furthermore she resembles the “Portrait of a Lady” by Neroccio in the National Gallery of Art in Washington. Similarities in facial structure, coloring and even pose suggest that the same model was used for all three.

Object of the Day: A Carved Walnut and Bronze Mirror, 1510

Mirror
Bronze and Walnut
Italian, c. 1510
The Victoria & Albert Museum

The history of the Victoria and Albert Museum reminds us of the Nineteenth Century ideals which prevailed as major museums were established in Britain. Victorian curators. Perhaps to assign importance to objects or perhaps to give an object some greater historical significance, wanted to associate items in their collections with known historic figures. Sometimes, this was based (even loosely) on fact, but most of the time, these associations were not only guesses based on provenance, but, simply, mere wishes.


When this carved walnut and bronze mirror (dated to c. 1510) first appeared in the collections of the V&A, the curators believed (hoped) at first that it was associated with Marguerite de Valois, the first wife of Henry VI of France. Why? The decoration of its frame with daisies (marguerites in French) led them down this rather precarious path.

Though the daisies would have been a clever pun on the Queen Consort’s name, the fact is that Marguerite lived between 1553 and 1615, almost a century after the mirror is thought to have been made. So…nope.

However, some association with an important figure could be possible. The mirror is Italian in origin and it also includes two emblems connected with Frederigo da Montefeltro, Duke of Urbino - the ermine and the goose (perhaps readable as the Duke Frederigo's symbol of an ostrich) with an arrow-head in its beak. Could this association actually be true? Duke Frederigo lived from 1422 to 1482 and so it is possible that the mirror could have been made for his household or in his honor. Images of ermine and ostriches were used in the decorations of Frederigo's studiolo or study , built for his palace in Gubbio, Italy. His study, in fact, has since been removed from the palace and is in the Metropolitan Museum in New York.

What else is known about this mirror? Something more verifiable, hopefully. We know it belonged to Jules Soulages (1803 - 1856), a lawyer from Toulouse, whose collection was bought in bits and pieces by the Victoria & Albert Museum, after being exhibited at the Royal Residence (and, later longtime home of Queen Mary) Marlborough House between December 1856 and January 1857. But, as far as provenance goes, that’s about all we know for certain.



Still, it’s a very attractive piece. That alone, and its age, gives it all the importance that it needs. The carved walnut frame is surmounted by a scrolled pediment and set on a carved walnut pedestal, made up of four triangular sides, with broad tapering edges. The reverse of the base is painted with daisies.

The adornment on the frame itself is rather peculiar. The sides are decorated with medallions representing an elephant with a fly on its body, a goose holding a nail (or an arrow…it could also be an ostrich), two twisted ropes, also pierced with nails, and ermine with a blank scroll above it.

The mirror plate is made of speculum, a bronze with a high tin content which was used around 1500. While most of the mirror’s frame is original, pieces of the molding have been replaced over time.

Object of the Day: A Vintage Frameless Mirror

Borrowing a concept from Venetian glass-makers, the frameless beveled mirror rose in popularity during the 1920’s. Considered quite the height of fashion in the U.S. and Britain, frameless mirrors soon dominated the market and found themselves in use in a variety of decors. Such mirrors had been around since the late 1800’s, but reached their pinnacle in the early Twentieth Century as designers relied more on shine and shape than they did ornamentation.


Frameless beveled mirrors took a variety of shapes, often mimicking the cuts of gems and adapting the more formal shapes of heavily-framed mirrors. These objects were at once informal and elegant, affording a sense of architecture without imposing the structure of a framed mirror.

This mirror—while appearing round, is actually comprised of thirteen straight edges. Mirrors such as this one can be found frequently in antique shops. If you find one that you lake, but don’t wish to hang it on the wall, you’ll discover that they also make great “table lakes.” Such a mirror can be placed on a flat surface to reflect the objects placed on top of it, creating a handsome display which playfully reflects the light of the room.

Object of the Day: An Antique Mirror in Napoleon III Style

This antique mirror comes from France and dates to 1840-1850. The style of the mirror can be described as Napoleon II. With its polychrome gesso frame, gilt details and segmented pediment, the design shows signs of Second Empire ideals, but also speaks of a transitional style between major artistic movements.


The frame is quite interesting with its mix of colors. Black, red, purple, blue and green leap out from an ebonized maple base and are elevated by gold volutes at the edges and the crest. The glass itself has been etched. While some of the silvering on the reverse has been lost over time, the mirror is still in excellent condition.

A mirror such as this one wasn’t designed for a grand home, but rather meant to be enjoyed by the merchant class of France who had the taste for the finer things, but not necessarily the means to procure them. Such an object would have added a welcome bit of color and sparkle to any home—as it does today.

Object of the Day: A Vintage Venetian Mirror

The glassmakers of Venice—specifically the Murano series of islands—have long been heralded for their artistry and ingenuity. The names “Venetian” and “Murano” are applied to all manner of art glass from this region. The term “Venetian Mirror” specifically refers to mirrors which are comprised of intricate pieces of silvered glass which have been assembled into an architectural form. The pieces are usually individually etched with details which when viewed from afar make a complete pattern.


This Venetian Mirror dates from the 1930’s to 1950’s. In traditional Venetian style, it is comprised of a delicate array of beveled mirrored pieces affixed together by glass florets and built on a hardwood frame. Fine etching creates a pattern of sparkling foliage around the frame. Few mirrors rival the play of light and shimmer afforded by a Venetian mirror. These mirrors were originally designed to create a dramatic effect in low light such as candlelight. Not only would they add an air of theatricality to a room, but they’d also serve to enhance much-needed light.

You’ll occasionally come across a Venetian mirror which incorporates colored glass—most usually red, blue or purple. This was a technique that rose in popularity during the Eighteenth Century. Venetian mirrors were coveted throughout Europe. The glassmakers of Murano carefully guarded their techniques. Over the centuries, many imitators have managed to create excellent reproductions of original Venetian designs. Still popular, a Venetian mirror can work in the most traditional or contemporary of rooms. Their drama and shine are timeless and versatile.

Object of the Day: A Louis Philippe Style Mirror

King of France, Louis Philippe, reigned only from 1830 until 1848. Today, many of us associate him with the style of furniture which carries his name. Louis Philippe furnishings are notable for their simple elegance. A reliance upon soft curving lines, dark woods and gentle plains of molding defines the style.

This Louis Philippe style mantel mirror dates to about 1840. This is an English interpretation of the style popularized in France during the reign of Louis Philippe. In this version, we see that the typical dark walnut and maple has been ebonized and gilt in the fashion poplar in England during that period. While the mirror itself shows the silhouette of a quintessential Louis Philippe mirror with its low basket-handle arch, the styling is typically English. The ebonized part of the frame has been simply adorned with hand-painted stars which are evenly spaced around the arch. The curve of the frame is anchored by ornamental gilt plinths.

The combination of English and French sensibilities of the time makes this mirror quite unique and attractive. Still sporting its original glass, it makes a grand statement no matter where it hangs.

Object of the Day: An Eastlake Mirror

With a majestic crest and elegant finials this mirror graces the mantelpiece in my dining room. Two-tone wood and incised ornamentation are the hallmarks of Eastlake style. This piece is a perfect example of an Eastlake mirror from the articulated pilasters which support a cornice which extends over the mirror itself to the gently-turned finials.

Still retaining its gold leaf which perfectly contrasts the deep color of the maple, the design of the mirror reminds us of the love of nature and aesthetic design which predominated late Victorian furnishings. The mirror itself has lost some of it silvering—the battle-scars of a life well spent. These minor imperfections are what make antiques beautiful—a reminder of the permanence of human cleverness.