A Régence Giltwood Mirror Early 18th Century Circa 1714

Regence period mirror in carved and gilded limewood, then burnished and amati, of quadrilateral rectangular main form, augmented by a pyramidal pediment. the openwork pediment is decorated with symmetrical ornaments rising gradually to the top, dominated by a seven-pointed shell, resting on a leafy cartouche from which emerges the number of the sponsoring family; at the aplomb of which is deployed a finely cross-hatched drapery adorned with fleurons and plumes. On either side, the shoulders are filled with acanthus leaf scrolls, garlands and foliage, topped at the same time with shells, all profusely openwork.
In the main, the curved frame, with reserves set with mirror plates, is covered with dense floral and plant scrolls alternating with fleurons and plumes. Each of the four corners is flanked by a spandrel from which an acanthus leaf emerges at an angle towards the center, in a cartouche of foliage and scrolls. In the middle, both horizontally and vertically, a clasp repeating the motif elegantly completes the border. Around the edge, a wide groove and a plant garland complete the frame. Like the glacettes, this one is made from a flat sheet of glass lined with tin and lead, which are immersed in a mercury bath to dissolve them. The combination of tin and lead gives the "mercury" mirror its warm, luminous appearance. The entire decoration is unified by a fine, elegant reparure that completes the work of the master gilder while sublimating the power of the master sculptor. On the back, the frame's sash is blocked at each corner by a key, and the sheet of glass is lined with a maritime pine sole that fits over the inside of the same sash; a traditional assembly technique inherited from the decorative arts of the great century. This technique, combined with the general decoration, allows us to date this mirror to the very early Regency period, circa 1714; a period when the decorative arts were still strongly influenced by the so-called Louis-Quatorzian style, in which perfect symmetry of motifs remained a cardinal value, but which was distinguished by a more flexible and varied search for ornament.  Dimensions: height 131cm - width 72cm.
Note the old reinforcements on the back of the pediment and the two stirrups for anchoring the pediment to the main frame have been redone.


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