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Very Large Engraved Venice Mirror, 260 Cm, 20th Century
$5,359.25
£3,990.67
€4,500
CA$7,341.10
A$8,186.16
CHF 4,271.19
MX$100,447.26
NOK 54,365.43
SEK 51,510.06
DKK 34,256.87
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About the Item
Large Venice mirror (2.60m) to hang or place, in glass and mirror engraved with floral motifs; the pediment composed of several pieces reminiscent of the petals, is in its central part, decorated with a bird
The pieces are held together and on the support with flowers and spandrels
Mirror in good condition, apart from a split "baguette" on the right side (see photos)
Mirror from the second half of the 20th century
Total height 260cm
110 x 5cm
Free shipping to Paris, to your place or to your shippers'
- Dimensions:Height: 102.37 in (260 cm)Width: 43.31 in (110 cm)Depth: 1.97 in (5 cm)
- Style:Napoleon III (In the Style Of)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:unknown
- Condition:Wear consistent with age and use. Minor losses. Minor structural damages. Minor fading.
- Seller Location:MARSEILLE, FR
- Reference Number:1stDibs: LU6656237066732

About the Seller
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- ShippingRetrieving quote...Shipping from: MARSEILLE, France
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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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