An Italian cream, polychrome painted and parcel-gilt mirror in the manner of Bonzanigo, Piedmontese, late 18th century

the split mirror plate within a beaded and foliate moulded frieze surmounted by an oval panel with a carved figure of cupid with issuing ribbons and cornucopia above floral garlands flanking either side, the carved floral garland apron between scrolling volutes

COMPARATIVE LITERATURE 

Roberto Antonetto, Il Moblile Piemontese nel Settecento, Vol. 1, Turin, 2010, pp. 336 - 371.

A colourful and very decorative mirror. The carving to the floral swags and top cresting has been executed with a high degree of skill. There are signs of old worm especially to the central plaque which appears to be no longer active. The left-hand floral swag with two losses to the leaf decoration at the top. The mirror plates are possibly later and have some signs of wear, especially to the top section. With some movement along the lines of construction which are secure. The painted decoration retains a very good colour.
"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."

This finely carved mirror with its delicate and colourful floral sprays clearly relates to the work of the great 18^th century Italian cabinet maker and carver Giuseppe Maria Bonzanigo (1745 – 1820). Although thus far it has proved impossible to track down an exact design, the form, use of vivid colours and central carved relief all bear the hall marks of the Bonzanigo’s oeuvre. Bonzanigo along with Pietro Piffetti (1701 – 1777) through their exceptional craftsmanship and modern designs shaped the landscape of Italian decorative arts. Their influence on, particular Piedmontese, furniture and works of art cannot be understated.

Having settled in Turin in 1773, Bonzanigo worked as a sculptor, wood-carver and cabinet-maker and was granted the patronage of the Savoy royal family. He worked for the Savoy Court for the next twenty years until the French invasion in 1796. In 1787, he was appointed official wood-carver to the Crown. In the accounts of the royal family he is recorded as having supplied numerous stools, chairs, armchairs, benches, sofas, screens, beds and mirrors as well as many ornamental panels and chests of drawers for the Royal Palace in Turin and for the royal residences at Moncalieri, Rivoli, Stupinigi and Venaria.