Hal Kuehne Prendergast Signed Gesso & Gilt Framed Mirror

A stunning period Napoleon III (1852-1870) French hand carved, painted and gilded wall mirror by JB Paris. circa 1850s/early 1860s Born in France in the mid-19th century, exquisitely hand-crafted high-quality Parisian work, using elements from timeless and luxurious historical Louis XV Rocaille style, in typical Napoleon III Second Empire fashion ornamentation and decoration are the focal points. Exceptionally executed, this remarkable antique mirror features a blackened (black lacquered) wood frame with an abundance of exuberant curving shapes, dimensional openwork, leafy acanthus scroll flourish elements, and visually striking profusion of brilliant gold gilded decorative motifs. Surmounted by an ornate sculptural cascading urn scrolling crest bouquet pediment, over ebonized frame embellished with contrasting giltwood fruit, flowers and leaf carvings, bordered by stylized foliage relief running ornamentation, encasing large rectangular flat mirror plate, flanked by a pair of elongated beveled glass side panels embellished with artistic etched glass accents. Signed, the boarded back stamped black "JB Paris" within a circle. Dimensions; (approx) 47.25" High, 32" Wide, 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. Provenance / Acquisition: Acquired from highly reputable antiques auction...

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