A Large Etruscan-style Engraved Mirror, probably Italian, late 19th/early 20th Century A.D.

with pronged handle, the disk engraved on the slightly concave side with an assembly of the gods showing Herakles and Hermes, and two seated and two standing goddesses.

acquired by the present owner from an antique dealer in Connecticut circa 1990

Good and as shown; there is a small crack and restored chip on the perimeter of the disk where it meets the handle, visible at lower right.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

On the back of the disk is a white oval paper label with the typewritten inventory number "18.107".

A nearly identical mirror is in the University of Pennsylvania Museum in Philadelphia, inv. no.  52-35-3: see Richard D. de Puma, "Forgeries of Etruscan Engraved Mirrors," in C. Mattusch, A. Brauer, and S. E. Knudsen, eds., From the Parts to the Whole: Acta of the 13th International Bronze Congress Held at Cambridge, Massachusetts, May 28 – June 1, 1996, vol. 2, Portsmouth, Rhode Island, 2002, pp. 53-57; the author notes: "This shows a crowded gathering of 6 figures from Greek myth surrounded by a unique border. If the Archaic figure style and gestures seem vaguely familiar, it is because they were copied from a famous red-figure cup in Berlin, the Sosias Painter kylix, c. 500 B.C., from Vulci [Berlin F2278: Euphronios der Maler, Milan, 1991, no. 59]... The forger excerpted some groups directly (e.g. the two seated goddesses) and reversed others (e.g. Herakles) to create a new composition more appropriate for the circular medallion of the mirror... [As far as the squatting winged figure in the exergue is concerned] perhaps the best candidate for the source of the forger's inspiration is the figure of a crouching man on the famous cup by the Foundry Painter [Berlin F2294: The Fires of Hephaistos, ]... The Philadelphia mirror is an unusually fine example of 19th- or early 20th- c. engraving. Perhaps the forger hoped that his expertise, combined with the meticulous and vaguely familiar details of his design, as well as the impressive size of the mirror, would ensure its success on the market."