An Italian gilt-copper and repoussé-silver mounted wall mirror, maker's mark FF a six pointed flower between console mark C.F.C. struck twice probably that of Carlo Frezza, Naples circa 1760

Generally the silver is of a thin gauge which is normal for an object like this; because of that there are numerous flaws in splitting and some losses, the most significant of which is the piece missing at the bottom left scroll and one gilt piece that has split but is still present. All the nails are iron and have rusted; the silvering on the glass has deteriorated mainly in two places as seen in the catalogue photo; behind the putti cresting there is an untidy hole which leads one to believe that the putti may be a later addition although still late 18th or early 19th century in date; overall a very impressive lot with wear and tear commensurate with age and construction. It’s worth noting the attractive oxidization and patina of the silver which is a result of the private provenance and general lack of cleaning.
"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."

Silver furniture was very fashionable during the 17^th and 18^th century among European courts, however little has survived. Neapolitan goldsmiths were renowned for their highly decorated religious silver items, such as Cartagloria frames and reliquaries which share much of the same ornament as this mirror.

Carlo Frezza became master between 1760 and 1766 and his mark is recorded on a pair of Cartagloria, in a private collection, and on an altar set for the chapel of the Cathedral of Naples, named after the Patron of the town, San Gennaro. See: Elio Catello, Argenti Napoletani dal XVI al XIX secolo, Napoli, 1973, p. 104.