An Italian carved giltwood and reverse painting on glass mirror, Venetian second quarter 18th century

the arched cresting surmounted by a female mask amongst acanthus sprays flanked by a flower-filled vase above a painted panel depicting lovers in a landscape with cupid, flanked on either side by boldy carved cherub terms above a further painted panel depicting two semi-naked females in drapery one inscribing a tree trunk flanked on either side by amorini, the side panels painted with gambolling cherubs with flower-filled vases, garlands, ribbons and trophies of Love, each angle carved with stylised lambrequins c-scrolls, flowers and foliage, the mirrored shaped borders carved with tasselled lambrequins, the panel on the apron depicting a reclining semi-naked female figure of Venus greeting Jupiter, the apron centred by a stylised anthemion the whole carved with c and s-scolls, flowers, leaves and rocaille.

Collection of cav. Eugenio Imbert, Milan prior to 1958;
Italian Private Collection

Giuseppe Morazzoni, Il Mobile Veneziano del Settecento, Vol I, Milan,1958, illustrated Tav. CCXXXI.

In overall good conserved condition. Good colour match with the catalogue photograph, although the colours on p.101 are closer in reality as they are vibrant. The piece is of stunning quality and of impressive proportions.The gilding is slightly dirty and would benefit from a light clean according to taste. Old marks and chips and wear to the gilding and carving commensurate with age and normal usage, which would benefit from some minor attention. The quality of the painting and carving is very good. There are old restorations generally to the carving. There is a small section missing on the side of the arch on the cresting but this can easily be restored. There are construction cracks at the joints and some hairline cracks generally which are normal and do not detract from the piece and can easily be filled or left. The mercury on the mirrored borders is degrading in places sommensurate with age.There is a minor section of mirrored border on the top right of the cresting which is missing in three parts as visible from the catalogue photograph but this can easily be restored. There is a minor variation in the carving on the top right side lambrequin but this is not too noticeable. There are some very minor areas which are black in colour which appear to be old restorations which can easily be retouched. On the bottom left side just above the apron there is a very minor section of carving missing revealing the carcass wood.
"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:
Graham Child, World Mirrors, 1650-1900, London, 1990, p. 363.

This impressive mirror which is unique both for its size and profusely painted borders is a superlative example of the virtuosity of Venetian carvers in the first half of the 18th century.

The technique of 'back painting’ (painting on the back of glass panels), was a technique employed in Italy from the 14^th century often with silver and gold leaf and later by the English in the 16^th century. Reverse painting on glass is an art form consisting of applying paint to a piece of glass and then viewing the image by turning the glass over and looking through the glass at the image. Verre Églomisé is a commonly used term to refer to the art of cold painting and gilding on the back of glass. It was popular for Byzantine icons and this technique spread to Italy where in Venice it was influenced by Renaissance art. Since the middle of the 18th century, painting on glass became  much sought after by the Church and the nobility throughout Europe. One can find mirrors made in 18th century Rome and Naples with flowers painted on the surface of the mirror, however, that technique is far less complex and requires less skill than that of the painter of the scenes on the reverse of the offered mirror.