Charles X neogothic work appears as if torn from the pages of Tolkien, Rowling, or Lewis. It’s one of the rarest, most romantic, refined, and endearing styles of decorative art. This wonderful “psyché,” as such mirrors are called, dates back to the late 1820s, and is an unforgettable piece hopefully for more than just those familiar with this style. It thankfully retains its original glass, but several ladies report that one looks slightly heavier than one actually is in the otherwise charming reflection. The full truth there remains to be seen, and the gallery is delighted to represent this memorable example of a very special moment in French furniture history.

As evident in such a piece, Charles X furniture is renowned as being the height of inlay in furniture history, at least in terms of precision. Whether or not one is drawn to the style, it occurs at a time when the decorative arts were at the apex of centuries of evolving tools and techniques. Thus, for essentially pre-industrial furniture, this style reaches a height of refinement and precision of execution.

Most Charles X is neoclassical, deriving it’s decor from ancient art (inlay inspired by classical palmettes, designs taken from antiquity). This mirror however, aptly named for the goddess of the soul, is in the neogothic style, a rare facet of Charles X work which is usually associated with the period of about 1827-30.

The size is exceptional, the style is rare, and the variant of the style is rarer and eccentric. Such a piece was no doubt commissioned exceptionally for someone with special tastes. The label which would have relayed this information is, of course, all but worn off underneath the piece. Nevertheless, and although pieces from this time are rarely stamped, Jean-Josse Caron L’Ainé is the master furniture maker to whom these astonishing Charles X pieces in the neogothic style are often attributed.