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A MONUMENTAL MIRROR with carved and gilded wood glazing, richly decorated …
Description

A MONUMENTAL MIRROR with carved and gilded wood glazing, richly decorated with scrolls, clasps, phoenixes and the uprights are adorned with female busts, . Regency period H. 263 ; L.129 cm (Very good general condition, as is) This monumental mirror is to be compared with the drawings of Nicolas Pineau, one of the inventors of the French rocaille style. Son of Jean-Baptiste Pineau, ordinary sculptor to the King, Nicolas Pineau received a very complete artistic education. He was one of the few adventurous artists who travelled to Russia to work in the service of Peter the Great, as "first sculptor to His Sacred Majesty the Czar". Upon his return to France in 1727, several of his drawings were published, which ensured a rapid diffusion of his aesthetic. The archives of the Musée des Arts Décoratifs in Paris preserve drawings from the beginning of the artist's career, dating from his stay in Russia or the years following his return. The ornamental motifs of these drawings, including the one for the funeral of Peter the Great in 1725, are very similar to the iconographic repertoire of our mirror.

179 

A MONUMENTAL MIRROR with carved and gilded wood glazing, richly decorated with scrolls, clasps, phoenixes and the uprights are adorned with female busts, . Regency period H. 263 ; L.129 cm (Very good general condition, as is) This monumental mirror is to be compared with the drawings of Nicolas Pineau, one of the inventors of the French rocaille style. Son of Jean-Baptiste Pineau, ordinary sculptor to the King, Nicolas Pineau received a very complete artistic education. He was one of the few adventurous artists who travelled to Russia to work in the service of Peter the Great, as "first sculptor to His Sacred Majesty the Czar". Upon his return to France in 1727, several of his drawings were published, which ensured a rapid diffusion of his aesthetic. The archives of the Musée des Arts Décoratifs in Paris preserve drawings from the beginning of the artist's career, dating from his stay in Russia or the years following his return. The ornamental motifs of these drawings, including the one for the funeral of Peter the Great in 1725, are very similar to the iconographic repertoire of our mirror.

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