The Story Behind This Mirror
An aged bronze finish is built, not bought. It starts as metal leaf laid by hand over the carved frame, exactly as a gilded piece would be - and then the work begins. The surface is darkened and worked back in stages, deepening in the recesses and lifting at the raised edges, until the frame looks like a piece that has been in a house for decades rather than one finished last week. Rush that sequence and the result reads as brown paint; take it properly and the metal still glints where a hand would have polished it over the years.
The carving comes first, in seasoned solid teak. The scrolls are cut in layers and undercut so leaves pass over and behind one another, then the ground between them is pierced right through - the point of no return, since the frame becomes mostly air and every rib left has to carry the glass. The shoulder volutes are shaped from thick stock so they turn in a true round rather than a flattened curve. The spreading base is set out last, because its width is judged against the finished frame rather than drawn in advance.