Paul T. Frankl

produced by Frankl Galleries, New York

Acquired from a Litchfield, CT Estate, circa 2010
Thence by descent to the present owner

Overall in very good original condition. The metal surfaces with some light rubbing, minor pitting, a few small and minor scattered surface scratches, and some minor discoloration and oxidation to the surfaces consistent with age and gentle use. The mirrored glass with very minor discoloration consistent with the aging processed over the mirrored glass. This is minor and only visible upon close inspection. The reverse of the mirror is finished with a black painted wooden panel with one very minor abrasion. The original label affixed to the reverse of the mirror remains in very good condition with one minor edge loss. The underbase is partially covered in felt with some small remnants of adhesive residue. A wonderful example in rare original condition displaying graceful scale and classically influenced motifs in the design of the base.
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.

After moving to Los Angeles in 1934, Frankl designed for many figures in the Hollywood film industry, including Charlie Chaplin, Katharine Hepburn and Alfred Hitchcock.  Among his close friends was Cedric Gibbons, the legendary art director for Metro-Goldyn-Mayer.  Frankl sold a number of pieces to MGM for use in the studio’s various productions, but he also furnished Gibbons’s house.  The small table mirror, which dates to Frankl’s last years in New York, shows his continuing allegiance to classical—especially Greek—forms.

—Christopher Long