The Story Behind This Mirror
Silver is less forgiving than gold. A gilded surface hides a lot - warm tone flatters uneven carving and disguises tool marks. Silver does the opposite: it is cooler, flatter and more reflective, so every ridge that should be crisp and every hollow that should be clean is visible. Frames finished in silver are therefore sanded further and checked harder before finishing than their gold equivalents.
The carving comes first, in seasoned solid teak. The basket at the crest is shaped from the solid and then hollowed so it reads as a basket rather than a block, and the flowers spilling from it are cut individually, each on its own axis with a few still in bud - a mould-made spray always gives itself away by facing everything forward. The C-scrolls are cut deliberately asymmetric, because true Rococo is never mirror-imaged left to right.
Then the finishing: hand-sanding through progressive grits until no tool mark remains, silver laid in coats, and the antiquing worked back by hand so the recesses hold shadow and the raised edges come up bright. The marginal panels are glazed before the arched plate.