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French Mid-19th Century Napoleon III Period Ebony and Ormolu Mirror
$17,500
£13,521.79
€15,632.46
CA$24,728.77
A$27,734.96
CHF 14,524.37
MX$337,006.75
NOK 184,435.13
SEK 174,857.49
DKK 116,688.13
About the Item
A stunning French mid 19th century Napoleon III period ebony and ormolu mirror. The ebony rectangular frame has beveled mirror inserts decorated by scrolled Églomisé floral designs, accented by richly chased ormolu mounts at each corner and sides. The central original beveled mirror plate is framed within a chased foliate designed border. At the top is a very impressive ormolu mount with a central cabochon amidst scrolls and foliate garlands.
- Dimensions:Height: 41.25 in (104.78 cm)Width: 29.5 in (74.93 cm)Depth: 2.5 in (6.35 cm)
- Style:Napoleon III (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:19th Century
- Condition:Wear consistent with age and use.
- Seller Location:West Palm Beach, FL
- Reference Number:Seller: 87591stDibs: LU949925313782
About the Seller
5.0
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323 sales on 1stDibs
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- ShippingRetrieving quote...Shipping from: West Palm Beach, FL
- Return Policy
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41.5lbs
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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