A fine Italian carved giltwood, mother-of-pearl inlaid and lacquered mirror, Venetian circa 1700

the cresting centred by a kidney shaped reserve flanked by two tear-drop shaped reserves, surmounted by a lambrequin above a rectangular plate within a cushion moulded frame, the whole decorated with flowers, including tulips and carnations and scrolling foliage, on a faux walnut ground

Gilding more golden and the contrast of colours more vibrant and attractive than in the catalogue photograph. Some retouching to painting and gilding in places. Old minor restorations to the mother-of-pearl inlay. Construction cracks at the angles which can easily be filled or left. Unusual and attractive model. In overall very good restored condition.
"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."

Comparative Literature:
H. Huth, Lacquer of the West, London, 1971, pls. 103 & 104.
C. Santini, Mille Mobili Veneti, L'arredo domestico in Veneto dal sec. XV al sec XIX Venezia , Volume III, Modena, p. 245, fig. 421 and p. 246, plate 423.
Graham Child, World Mirrors, London, 1990, p. 261, fig. 546 and 547.
A. G.-Palacios, Il Tempio del Gusto, Il Granducato di Toscana e gli Stati Settentrionali, Milan, 1984, Vol I, Lacca e madreperla, p. 313-316 and Vol. II, pp. 334-336, plates 712, 714-716 inc.

The exoticism of the Orient exercised a peculiar fascination for the Venetians, as Venice's extensive trade contacts with the East exposed the former to the decorative art of the Islamic World, in particular objects decorated in black and gilt lacquer. However, the incorporation of mother-of-pearl inlay appears to have been a Venetian innovation revived from an earlier period and was combined with floral and ornamental motifs of European character-pre-dating chinoiserie motifs. Huth illustrates, op. cit., pls. 103 and 104, a less elaborate frame now in the National Gallery Prague, decorated in a similar technique with mother-of-pearl inlay.

Furniture and objects in this elaborate technique became a speciality of Venice and is confirmed by the documented works of various artists such as Domenico Rossetti (1650-1736). He was a celebrated architect and carver and is recorded as having executed `Una stanza nella casa di Angelo Nicolosi cancelliere grande, con diversi lavori alla chinese, vernici, intagli e rimesssi di madreperla: opera mirabile per la rarita dell'invenzione e della esecuzione' .

For a related mirror in this technique see the footnote to lot 220, Haute Epoque, sold in these Rooms, 29th October 2008. Also  see a related mirror with a similar cresting sold in these Rooms, lot 60, 10th June 1999.