This rare and large Charles II mirror is a superb example of early English marquetry. It retains its original rectangular plate within an ovolo-moulded cushion frame, richly veneered in olivewood oyster cuts. The frame is intricately inlaid with green-stained bone and floral marquetry: sprays of foliage and flowers embellish each corner, while the side panels feature birds perched on flowering branches. The use of coloured bone and naturalistic motifs exemplifies the refined craftsmanship of this period.

Floral marquetry was first introduced to England around 1670, having originated in France under the influence of Dutch ébéniste Pierre Gole, who supplied richly inlaid furniture to Louis XIV from 1661. The technique soon gained admiration among English connoisseurs and craftsmen. Notably, John Evelyn provides the earliest known English description of marquetry in the 1670 edition of Silva, remarking:

“…when they would imitate the natural turning of Leaves in their curious Compartiments and bordures of Flower-works, they effect it by dipping the pieces (first cut into shape and ready to In-lay) so far into hot Sand, as they would have the shadow, and the heat of the Sand darkens it so gradually, without detriment or burning the thin Chip, as one would conceive it to be natural.”

Interestingly, Evelyn’s earlier edition of Silva, published in 1664, makes no mention of this technique—implying that marquetry was still unknown or exceedingly rare in England at that time. By 1670, however, it had not only arrived but was sufficiently widespread to be described in detail. By 1675, marquetry had become well established: the London cabinetmaker Edward Traherne’s inventory listed several items ‘inlaid’ and ‘flower’d’, and in 1677, William Farnborough supplied a marquetry mirror to Charles II for the royal lodge at Richmond at a cost of £50.

During this period, marquetry was a specialist skill, practised by only a few highly skilled artisans. While styles varied, the quality of early marquetry pieces was consistently high. A cabinet (Plate 2:40) and a mirror (Plate 4:59) installed at Ham House between 1679 and 1683 showcase the contemporary appetite for elaborately decorated furnishings. By contrast, a c.1675 cabinet from the collection of Lady Assheton-Smith (Fig. 5) reflects a more restrained approach to inlay, while maintaining the same exceptional standard of craftsmanship.

These early examples differ mainly in the density of their decoration, not in the quality of their design or execution. However, as demand for marquetry furniture increased into the 1680s and 1690s, a growing number of cabinetmakers adopted the technique. Many produced work of reduced quality—denser patterns, coarser cutting and shading, and less precise laying became common. Marquetry from 1690–1700, as seen in Plates 2:42 and 4:58, often lacks the refinement of the earlier pieces.

The present mirror, with its generous proportions, crisp detailing, and restrained elegance, dates from the height of the marquetry period—circa 1675–1685. The marquetry is carefully composed within ebony ground tablets, with a clarity of design that avoids the visual overcrowding found in later examples. Closely comparable in both style and quality is a mirror in the Victoria & Albert Museum (77056), also dated 1675–1685. Both works employ the rare and costly green-stained bone—used to depict the foliage of flowers with remarkable vibrancy—and oyster-cut veneers that provide a richly figured surface, in contrast to the flat grain of straight-cut woods used in lesser examples.

This mirror stands as a testament to the peak of English marquetry craftsmanship in the late 17th century—a period defined by technical innovation, international influence, and artistic excellence.