- 70
An Italian carved giltwood and ebonised mirror, Roman, late 17th/early 18th century
Estimate
8,000 - 12,000 GBP
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Description
- pine, poplar
- 112cm. high, 116cm. wide; 3ft. 4¼in., 3ft. 5¾in.
of rectangular form, the cresting with the female mask flanked by boldly scrolled acanthus, the rectangular plate within a foliate concave and twisted-ribbon border
Literature
Sebastian Schutze, Palazzo Sacchetti, Rome, 2003, illustrated p.106 and 143 in the Stanza dei Fatti mitologici.
Condition
In overall good conserved condition. The piece is a bit dirty and would benefit from a light clean according to taste. Old minor marks and chips and very minor losses to carving due to old very minor worm damage which appears to be no longer active. There are construction cracks at the joints as visible from the catalogue photograph which can easily be filled or left as they do not detract from the piece.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Comparative Literature:
S. Walker and F. Hammond. Ed., Life and the Arts in the Baroque Palaces of Rome, Ambiente Barocco. Exhibition catalogue at the Bard Graduate Center for Studies in Decorative Arts March 10th to June 13th 1999, p. 188-189, illustrates a related ebonised and gilded Roman 17th century mirror with floral garlands and female mask cresting in the Banca Nazionale dell’Agricoltura, Palazzo Rondini, Rome. As on the illustrated mirror, the austerity of the ebonising or in some cases ebony veneer is dramatically contrasted with carved giltwood ornamentation. The central focus is the female mask flanked by fluid acanthus leaves from which boldly carved foliage flowing down the sides of the mirror. According to the authors op. cit., p. 189,`This design approach can also be found on several tables, stands and glazed display cabinets made in Rome towards the end of the 17th century, suggesting that matching pairs or entire suites of furniture of this type were created to give a room its specific character’. Other comparative mirrors are in the collection of the Museo d’Arte Antica, Palazzo Barberini and Palazzo Sacchetti, the latter illustrated by Helena Hayward, World Furniture, London, 1965, p. 71, plate 26, which had a painted mirror by G. Gimignani, post 1681. One should also not discount the monumental frame sold at the Mentmore sale, Sotheby's, Parke Bernet & Co., 18th -20th May 1977, lot 858 that shares similar composition with leaf scrolls, crowning female mask and contrast of ebonised ground and the gilding of the carving.
S. Walker and F. Hammond. Ed., Life and the Arts in the Baroque Palaces of Rome, Ambiente Barocco. Exhibition catalogue at the Bard Graduate Center for Studies in Decorative Arts March 10th to June 13th 1999, p. 188-189, illustrates a related ebonised and gilded Roman 17th century mirror with floral garlands and female mask cresting in the Banca Nazionale dell’Agricoltura, Palazzo Rondini, Rome. As on the illustrated mirror, the austerity of the ebonising or in some cases ebony veneer is dramatically contrasted with carved giltwood ornamentation. The central focus is the female mask flanked by fluid acanthus leaves from which boldly carved foliage flowing down the sides of the mirror. According to the authors op. cit., p. 189,`This design approach can also be found on several tables, stands and glazed display cabinets made in Rome towards the end of the 17th century, suggesting that matching pairs or entire suites of furniture of this type were created to give a room its specific character’. Other comparative mirrors are in the collection of the Museo d’Arte Antica, Palazzo Barberini and Palazzo Sacchetti, the latter illustrated by Helena Hayward, World Furniture, London, 1965, p. 71, plate 26, which had a painted mirror by G. Gimignani, post 1681. One should also not discount the monumental frame sold at the Mentmore sale, Sotheby's, Parke Bernet & Co., 18th -20th May 1977, lot 858 that shares similar composition with leaf scrolls, crowning female mask and contrast of ebonised ground and the gilding of the carving.
A related ebonised Roman mirror was sold from the Bartolozzi Collection, Christie's, London, 14th November 2013, lot 205 (£43,750). Also see a much more ornate example sold da Una Dimora di Piazza Farnese, Sotheby's, Rome, 18th May 2004, lot 492 (85,000E). vei