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19th Century French Napoleon III Repousse Cushion Brass Beveled Wall Mirror
$1,100
£836.50
€964.86
CA$1,540.90
A$1,724.57
CHF 900.49
MX$21,039.86
NOK 11,430.60
SEK 10,846.94
DKK 7,205.15
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About the Item
Created in France, circa 1870, the elegant antique mirror is decorated with intricate repousse scroll work motifs including a large cartouche at the pediment featuring a center fruit basket flanked with scroll and foliage on both sides. The cushion frame is dressed with the original beveled mercury glass and smaller inset mirror plates around the frame embellished with shell rosette medallions in each corner. The petite overlay Napoleon III wall mirror is in excellent condition commensurate with age and use, and adorns a rich patinated gilt finish. A wonderful addition to a powder room or hallway.
Measures: 14.5"W x 24.75"H
- Dimensions:Height: 24.75 in (62.87 cm)Width: 14.5 in (36.83 cm)Depth: 2 in (5.08 cm)
- Style:Napoleon III (In the Style Of)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:circa 1870
- Condition:Wear consistent with age and use.
- Seller Location:Dallas, TX
- Reference Number:Seller: 243-405A1stDibs: LU951243296972
About the Seller
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- ShippingRetrieving quote...Shipping from: Dallas, TX
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Louis Napoleon Bonaparte
(1808-1873) was Emperor of France from 1852 to 1870 under the name of Napoleon III. In a way, the artistic codes of the Napoleon III style — also called Second Empire style — were presented at the Exhibition of 1844, during the reign of Louis-Philippe d'Orléans. He was an important influence on architecture, interior furnishings and decoration throughout the rest of Europe and North America.
The Napoleon III style (also known as Second Empire) stands as one of the most unique styles ever produced. The eclecticism of the Second Empire is reflected in the association of past tradition with the development of modernism. It was often referred to as a “style without style”. The Napoleon III ”style” was in fact more of a combination of different styles from past centuries adapted to the modern era in order to correspond to a time of dynamic, innovative transformation. It stands out because there is nothing within it that is unique to itself. Everything, including materials, forms reproduced, and ornamentation used, was borrowed from styles that preceded it. Instead of drawing their inspiration from a single period, the artists and decorators from the Second Empire drew indiscriminately, with joyful exuberance, from all sources. Even so, this style, which is so apparently lacking originality, carries on a recognizable personality and is easily identified.
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