Antique Ornate Art Nouveau Three Paneled Mirror With Print

If you’ve come across an Antique Ornate Art Nouveau three-paneled mirror with an inset print, you’re looking at a decorative object that combines two collecting categories: fine mirrors and printed art. Properly identified and cared for, these triptych mirrors can be both historically compelling and valuable. This guide explains what you have, how to date and authenticate it, what affects value, and how to care for it without diminishing its originality.

Anatomy and Variants: What You’re Looking At

“Three-paneled” or triptych mirrors usually appear in two broad formats:

• Vanity or dressing table triptychs: a central mirror flanked by two hinged side mirrors for angled views.
• Wall-hung or easel-backed triptychs: either three mirrors or a combination where a print (photogravure, chromolithograph, or halftone) occupies the central or upper cartouche with mirrors to the sides.

Common frame constructions from the Art Nouveau period (circa 1890–1915) include:

• Cast metal (spelter/zinc alloy, brass, or occasionally bronze), often with flowing “whiplash” lines and motifs like irises, lilies, poppies, dragonflies, peacocks, and idealized female profiles.
• Carved hardwood or softwood with applied composition (gesso) and gilded or bronzed finishes.
• Silver-plated mounts over a base metal, sometimes with tooling or chased details.

Tell-tale Art Nouveau characteristics:

• Asymmetrical organic lines that trace vines or tendrils.
• Naturalistic motifs integrated into the frame rather than merely applied.
• Softly modeled maiden heads, masks, or cartouches.
• Beveled mirror plates (often 0.5–1.5 cm bevel) and gently scalloped outer silhouettes.

The “print” component may be an inset oval or rectangular panel, often sepia-toned, sometimes with a faux hand-coloring wash. Some examples have a printed portrait at center and mirror wings; others place the print above a central mirror, framed by an elaborate cartouche.

Typical sizes range from small desktop pieces (30–45 cm high) to wall mirrors (60–90 cm high). Hinges on side wings are usually small knuckle or piano hinges; better-quality hinges feel tight and smooth, with slotted screws (not Phillips, which appear later).

Dating and Materials: 1890–1915 Clues

While mirror-making dates back centuries, most Art Nouveau triptychs were produced approximately 1890–1915. Dating clues include:

• Mirror plate technology: By the 1890s, silvered glass (silver nitrate process) had largely replaced mercury amalgam. A true Art Nouveau example usually has silvered plates, sometimes with subtle waves or bubbles due to older float methods. Desilvering often starts at edges with cloudy “halos.”
• Bevels and thickness: Quality beveled plates were common; hand-cut bevels feel sharper and may vary slightly in width along the edge.
• Hardware and fasteners: Hand-cut or early machine slotted screws, square-cut nails in wooden backboards, and open-slot or simple brass hanging plates support an earlier date; Phillips screws indicate later interventions.
• Backing boards: Old wood backboards with oxidation, soot accumulation, and tool marks differ from modern MDF or pristine plywood.
• Finishes: Original bronzing and shellac, or gold leaf/gilt over gesso, develop warm tonality and microcracking (“craquelure”). Bright, uniform metallic paint often signals later refinishing.
• Paper and print methods: Art Nouveau-era prints include:
  • Photogravure: rich tonal range, continuous tone, visible plate mark on higher-quality examples.
  • Chromolithograph: layered color, no screen dots, slightly embossed surface.
  • Early halftone: dot screen visible under loupe (check for even rosette patterns). Paper may show deckled edges (hidden when framed), calcium carbonate inclusions, or watermarks. Toned paper, foxing, and slight cockling are common; crisp white paper can indicate a replacement.

Regional marks also help:

• France: “Depose” on metal frames; sometimes foundry or retailer stamps.
• Germany/Austria: “DRGM” (utility model) or “DRP” (patent) numbers; WMF marks (ostrich in a rhombus with WMF).
• Great Britain: “Regd” or design registration numbers; Liberty & Co model numbers.
• United States: Bradley & Hubbard (B&H) intertwined initials; Tiffany Studios uppercase stamp and model numbers on some metal frames.

Makers and Marks to Watch For

Attribution can significantly influence value. Commonly encountered makers and retailers include:

• WMF (Württembergische Metallwarenfabrik, Germany): Produced silver-plated and patinated Art Nouveau frames, often marked with an ostrich logo and WMF lettering. High design quality and crisp casting.
• Liberty & Co (London): Sold frames in the “Stile Liberty” idiom; expect L&Co or model numeral stamps, often with British Arts & Crafts influence blended into Nouveau lines.
• Bradley & Hubbard (USA): Cast metal frames with clean detailing; look for B&H marking; quality varies with model.
• Continental foundries and retailers: Unbranded French and Belgian frames abound; some carry retailer plaques or simple “Depose.”
• Tiffany Studios (USA): Rare in this specific form but extremely valuable; marks are clear, and workmanship is exceptional. Beware of spurious stamps.

Not every frame is marked. When unmarked, assess quality by:

• Sharpness of casting: Deep relief, crisp edges, and clean undercuts point to better foundry work.
• Weight: Bronze or heavy brass is denser than spelter. Spelter is lighter, seams more obvious, and threads strip easily.
• Surface: Genuine patina shows color gradations and wear on high points; uniformly bright gold paint usually is not original.

Condition Factors That Drive Value

Appraisers weigh several condition factors:

• Glass: Originality matters. Early glass shows slight waves, bubbles, or minor seeds; beveled edges may show age wear. Desilvering at margins is expected, but black blooms or heavy pitting reduce value. Replaced plates improve function but can soften desirability unless expertly matched.
• Frame integrity: Look for breaks at thin tendril sections, losses in gesso ornament, and stress cracks around hinges. Repaired breaks with visible solder blobs or epoxy detract more than discreet, professional repairs.
• Hinges and wings: Sagging side panels indicate worn hinges or screw holes; replacements should be period-appropriate. Misaligned wings suggest past impacts or warping.
• Finish: Original gilding or bronzing with mellow patina is ideal. Overpolishing brass or stripping patina removes value. Painted-over metal to “refresh” gold is a red flag.
• The inset print: Original period prints—particularly signed photogravures or chromolithographs—are desirable. Staining, foxing, or sun-fading lowers value; a modern reproduction shrinks collector appeal unless the frame is outstanding.
• Backboards and glazing: Original ground glass over prints and old backboards are value-positive; modern acrylic replacements help preservation but should be disclosed.
• Completeness: Missing finials, easel stand, or cresting elements matter. Replacement screws should be slotted and sympathetic in finish.

The Inset Print: Identifying Originals vs Replacements

The “with print” component is a key differentiator. To evaluate:

• Under magnification: Halftone dots indicate photomechanical print, common after the 1890s; photogravure has continuous tone; chromolithographs show layered color without screen dots.
• Plate marks and captions: Intaglio prints may exhibit a plate impression near the perimeter; publisher or printer lines along the lower edge are good signs of period manufacture.
• Paper: Hand-laid or early machine-made paper may show uneven fiber distribution and a warmer cast. Bright white, wood-pulp paper with optical brighteners signals a modern replacement.
• Subject: Typical Nouveau subjects include allegorical women, botanical studies, or fashion plates. Out-of-period motifs can betray a later substitution.
• Fit and aging: Perfectly clean paper with an aged frame and glass mismatch suggests recent insertion. Toning that matches the exposure window and backboard stains support originality.

If the print is a later addition, the mirror remains collectible, but you should value the frame and mirrors primarily. If the print is original and by a recognized artist or publisher, it can add substantially to the overall value.

Appraisal Snapshot: Rarity and Market Value

Values vary by maker, materials, size, and condition. General observations:

• Unmarked spelter/gesso triptychs with good design and honest wear: commonly mid-three figures.
• Better-quality brass/bronze frames or silver-plated WMF-type pieces: can reach low-to-mid four figures when complete and unmolested.
• Documented pieces from noted makers (e.g., Liberty & Co; rarer WMF models): higher four figures depending on condition and scale.
• Exceptional, signed studio pieces or rare variants with original high-quality photogravures: premium pricing; the market rewards originality and provenance.

Regional demand and current fashion for Art Nouveau influence results. Compare against past auction catalogues for similar motifs, sizes, and construction. Note that heavy restorations, replacement prints, or polished-away patina can cut value significantly. Conversely, intact patina, undisturbed backboards, and matching period glass increase desirability.

Care, Conservation, and Ethical Restoration

Preserve originality wherever possible:

• Dusting: Use a soft natural-bristle brush for frames; avoid aggressive rubbing on gilded or bronzed surfaces.
• Metal care: Do not polish patinated bronze or silver-plate; a microcrystalline wax can protect surfaces. Avoid ammonia on silver plate and avoid abrasives.
• Gilded gesso: Extremely delicate. Clean only with a dry, soft brush. Water or solvents can lift gilding.
• Glass: Clean with distilled water and a drop of mild detergent applied to a lint-free cloth; keep moisture away from the frame edge to avoid capillary seepage.
• Print conservation: If accessible, keep the print separated from acids with an archival mat or barrier sheet. Use UV-filter glazing when possible. Do not try to bleach foxing at home.
• Re-silvering: Ethically acceptable when plates are severely compromised, but it reduces originality. If you re-silver, keep the old plate and document the process. Matching bevels and thickness matter.
• Hinge and joinery repairs: Tighten with period-appropriate slotted screws; plug and re-drill worn holes if necessary, keeping the repair reversible and documented.

When in doubt, consult a conservator for paper and gilded surfaces. Any irreversible intervention should be considered carefully against its impact on historical integrity and market value.

Quick Inspection Checklist

• Confirm format: triptych with central or flanking print and mirrors; note overall dimensions.
• Inspect for maker marks: WMF, B&H, L&Co, DRGM/DRP, Depose, retailer plaques; photograph all stamps.
• Assess frame material: spelter vs brass/bronze; check casting sharpness and weight.
• Examine glass: bevel quality, waves/bubbles, edge desilvering vs replacement plate; note chips.
• Check hinges and screws: tightness, alignment, slotted screws; look for later replacements.
• Evaluate finish: original patina/gilding vs overpaint or heavy polishing.
• Review the print: loupe the surface for method; check paper tone, potential plate mark, captions; decide if period-original.
• Look at the back: original boards, nails, and glazing; record any labels or pencil notes.
• Condition summary: note breaks, losses, repairs, missing elements; test stability on stand or hangers.
• Provenance: capture ownership history, receipts, or catalog mentions if available.

FAQ

Q: How can I tell if my mirror’s frame is spelter or bronze? A: Weight and surface are clues. Spelter (zinc alloy) feels lighter and often shows softer details and casting seams; threads strip easily. Bronze is heavier, with crisper relief and warmer, more complex patina. If safe and discreet, a tiny hidden magnet can help identify ferrous mounts (not bronze/spelter), but most frames are non-magnetic; a conservator can test metal composition more definitively.

Q: Should I re-silver the mirror plates? A: Only when desilvering seriously impairs use or appearance. Original silvering is part of the object’s history. If you re-silver, document the work, retain the old plates, and match bevels and thickness. For high-value examples, seek specialist restoration.

Q: The print looks new—does that ruin the value? A: It lowers value relative to an original period print, but the frame and mirror can still be desirable, especially if the design and condition are strong. Be transparent in any appraisal or sale about the replacement.

Q: Is mercury glass a concern in Art Nouveau mirrors? A: True mercury-backed mirrors are generally pre-1850. Art Nouveau mirrors are typically silvered glass. If you suspect reused earlier plates, handle cautiously and consult a professional, but in most cases mercury is not present.

Q: What motifs are most sought after? A: Strong Art Nouveau whiplash lines, female profile cartouches, and natural motifs like irises, dragonflies, and peacocks remain popular. Recognizable maker aesthetics (e.g., WMF) and quality casting elevate desirability.

With careful inspection and conservative care, an Antique Ornate Art Nouveau three-paneled mirror with print can be a standout in a decorative arts collection—valued not just for its reflective surfaces, but for the period artistry it embodies.