Silver-plated mirror tray with flower pot, set, historicism (4744)

Silver-plated mirror tray with flower pot — historicism, set

This elegant silver-plated metal set (mirror tray) is an exquisite historicism era table ornament, where the flowing lines and natural motifs of Neo-Rococo merge in a gentle silver glow. The set consists of a large mirror tray with two handles and a matching flower pot (jardinière) — together they once formed a luxurious centerpiece around which guests gathered.

Dimensions: tray — height 7 cm · length 57 cm · width 28 cm; pot — height 16 cm · length 46.5 cm · width 21.5 cm.

Manufacturing period Circa 1900, Western Europe. The form and decor combine the richness of historicism Neo-Rococo with Art Nouveau features — asymmetrical swirls and realistic floral bouquets characteristic of the turn of the century.

Construction and decor The mirror tray frame is formed by flowing, asymmetrical rocaille swirls with embossed floral rosettes at the corners and two elegantly curved handles; a mirror is placed in the center. The matching flower pot rises on a shell-shaped base with an all-over floral and leaf relief and a scalloped, wavy edge. The lines of both objects echo each other — the set is designed as a unified ensemble.

Material Silver-plated metal; in places of wear, a reddish copper/bronze base is visible, indicating an authentic silver-plating technique. A mirror is placed in the tray.

Condition Good age-appropriate condition. The silver-plating shows a beautiful, gentle patina with natural wear, revealing the warm base metal — this is an authentic sign of age valued by collectors. The mirror has retained an old, gently patinated surface.

Application Decorative table set — the mirror tray as a luxurious base for candles, bottles or perfume bottles, and the flower pot as a table centerpiece. Equally beautiful on a dressing table or in a representative dining room.

Belle Époque (Beautiful Era) snapshot: The painter Henri Fantin-Latour had brought freshly cut rose branches into his studio and was arranging them in a silver vessel, searching for the only correct turn for how the light would fall on the petals. Morning light streamed through the studio window, and the silver-plated metal reflected it back onto the mirror, until the entire composition seemed to float in its reflection. He stepped back, tilting his head — it wasn’t quite right yet. Then he moved one branch an inch to the right, and suddenly everything fit: the flower, the silver, the reflection, and the silence. He smiled and began mixing paints, knowing that this morning would remain on the canvas longer than the flowers themselves.