A Chinese export reverse painted mirror late 18th/early 19th century

in a contemporary giltwood frame

Anonymous sale, Sotheby`s London, 10 November 1995, lot 10.

Overall in good condition. The gilding appears to be a later over-gilded oil finish with some minor typical chips and wear including some minor re-touching. The top of the arch to the main frame and the cresting with a minor age cracks. The plate with minor typical blemishes where the silvering has degraded. There are also two small scratches to the lower region of the plate. Minor typical degrading to the reverse painted decoration. A charming mirror in a particularly unusual frame.
"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."

The introduction of the technique of painting on glass in China is most often accredited to the Jesuit missionary Father Castiglione (1688-1766) who arrived in Peking in 1715, although the technique of ` back painting' was already established in Europe. The mirror or glass plates were most often imported from the West where the artist would exactingly remove the mercury backing in the areas to be decorated and then paint his design in reverse. Once completed and having already survived a perilous journey, the mirrors, now even more highly prized, were returned to Europe.

Following the stark classicism of the early 18th century, there was a desire in Europe for the whimsy and fantasy of the Orient. This taste, propagated in part by architects such as Sir William Chambers, and fuelled by the East India Companies` imports of porcelain, silks, wallpapers, lacquer and other exotic items, created a sensation across Europe for such wares. Interiors that still demonstrate this desire for ` Chinoiserie' include Saltram, Devon, Clifton Hall, Northamptonshire, Claydon, Buckinghamshire,  and the Pavilion at Drottningholm, Sweden.