An Italian mother-of-pearl inlaid painted and parcel-gilt faux walnut and faux tortoiseshell mirror, Venetian early 18th century

Colour slightly darker overall an dmuch more attractive in reality than in the photograph. Old very minor marks and chips commensurate with age and normal usage. Evidence of old very minor worm which appears to be no longera ctive. There are construction cracks at the angles as visible from the photograph which can be fille dor left. Nice cracquelure to the painted decoration which has some very minor retouching in places. There are some very minor chips to the heart shaped motif in the lower right hand corner which can be easily touched up. This piece is a rare example of Venetian mirrors as few exist in painted faux tortoiseshell.
"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.
Alvar Gonzáles-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. 03 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 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.